
CHON POEMS 


MfcSSC 


d PLAYS For CHILDREN 


Anne 

MefjriJnan 

Fe*K 


BY NORA ARCHIBALD SMITH 

































COPYRIGHT DEPOSIT. 

































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ACTION POEMS AND PLAYS 
FOR CHILDREN 






ACTION POEMS AND 
PLAYS for CHILDREN 


BY 

NORA ARCHIBALD SMITH 

>l 



THOMAS Y. CROWELL COMPANY 

NEW YORK 


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Copyright, 1923 

By THOMAS Y. CROWELL COMPANY 


PRINTED IN THE UNITEp J^TATES OF AMERICA 


JDL 26 ’23 

©C1A711369 


PREFACE 


« 


It is somewhat difficult to describe the brief and simple enter¬ 
tainments or diversions contained in this little volume, for they 
are not plays, with two exceptions, nor are they pageants or 
pantomimes. 

They may, perhaps, best be called action-poems, illustrated 
verses, or tableaux with rhymed accompaniment. As to that, 
the name by which they are labelled hardly matters if they only 
suit the folk, young and old, for whom they were written. They 
have all been published, and all been many times performed, 
and if unfavorable criticisms have been made upon them, these 
have not yet reached the author’s ears. They have grown out 
of a long experience with children in dramatic work, and the 
knowledge that brief entertainments for special occasions are 
often greatly needed, when there is no time for the learning of 
parts. The story in each one of these action poems is given by 
a Reader, who may be provided with the manuscript, and so the 
performers have only to prepare their costumes, or have them 
prepared for them by older hands, and rehearse their poses for 
x the tableaux. 

The first number in the collection, “Children of the May¬ 
flower,” is the most elaborate, and although the boys in a 
certain public school of my acquaintance made themselves all 
the required furnishings and fittings when it was produced, yet 
older people would often be needed for its perfect setting forth, 
and would enhance its value. 

A small stage, 13 x 9 feet, has been the one most used in the 

5 


6 


PREFACE 


production of the tableaux, and as a more diminutive one could 
hardly be found in any school, the producer, whatever his lim¬ 
itations, may at least be sure that he will have room enough to 
work out his effects. 

Many years spent in teaching have convinced me that children 
(and no doubt grown people) enjoy more and profit more in 
dramatic work when they are led to imagine, and as far as pos¬ 
sible construct, their own costumes, furniture and scenery. The 
powers that guide amateur theatricals are certainly inclined to 
smile upon those who help themselves. 

Nora Archibald Smith. 

Quillcote-on-Saco 

Hollis, Maine. 


CONTENTS 


PAGE 

Children of the “Mayflower” ...... 9 


Bluebeard in Verse.29 

Briar Rose.39 

Jack and the Bean Stalk.51 

What Happened to the Tarts.63 

The Giant’s Shoe.75 

The Laundry-maid’s Revenge ....... 83 

Little Jack Horner.93 

School-bell Fever.103 

Tom Goes to London.113 

Mary’s Magic.131 

A Visit from St. Nicholas.139 

The Three Little Kittens.147 

The Babes in the Wood.155 

The Muffets and the Spider . r . . 163 


7 











Acknowledgments are due to "The Delineator,” "St. Nicholas,” 
" Woman s Weekly,” "Popular Educator,” "Normal Instructor 
and Primary Plans,” and "John Martins Book; the Child's 
Magazine,” for permission to reprint such of these action-poems 
as have appeared in their columns. 


v 


8 


CHILDREN OF THE “MAYFLOWER” 


CHARACTERS 


Reader 

Prudence 

Love 

Remember 

Other Pilgrim Children 

Dutch Children 

Indian Lad 

John Alden 

Myles Standish 

Elder Brewster 

Pilgrim Men and Women 

Samoset 

Other Indians 

Indian Mother and Papoose 


10 



CHILDREN OF THE “MAYFLOWER” 

A Metrical Story, in Nine Tableaux 

Down in an English garden, bordered with privet hedges, 

Gay with the buds of the summer, rosy and purple and yellow, 
Prudence and Love and Remember, buds of a Puritan household, 
Played in their serious fashion, decorous, seemly and sober. 
Love, with a tattered book, and spectacles twisted of grasses, 
Laid down the law to a flock, seen by no eye but the preacher’s; 
Prudence was shaping a sail for a rough little boat that Remem¬ 
ber 

Purposed to launch in the brook when ’twas fitting and ready for 
service. 

Down from his pulpit came Love, seeing the voyage preparing, 
Set the rude craft on the wave, favoured it out of the harbour. 
Armed with an apple-tree twig, deftly the little Remember, 

11 





















12 


CHILDREN OF THE “MAYFLOWER” 


Guided the boat on its way over the water to freedom.— 

“Over the water,” the children sang, “over the sea to Holland!” 

TABLEAU I 

0 

Puritan Children in Scrooby Garden 


This was the village of Scrooby, neighbor to Sherwood Forest, 
Home of a Puritan band, stalwart and strong in religion, 
Resolute never to follow the will of King James for his churches, 
Using no prayers but their own, ritual, music, nor service, 
Praising the God of their faith after their Puritan fashion. 
Ridiculed, prisoned and fined, still they were strong in believing, 
Yet did they ardently crave respite from such persecution, 
Purposing now to embrace freedom and safety in Holland. 
Puritans had they been termed, soon did they call themselves 
Pilgrims, 

Travelling ever and aye “tow’rd Heaven, their dearest of coun¬ 
tries.” 

Nor was it long till the band, leaving the home of their fathers, 
Journey’d with staff and with scrip to the land of the dike and 
the windmill. 

Wondrous to Prudence and Love, wondrous to little Remember 
Streets where the boats up and down fared on the shimmering 
water. 

Strange were the houses of brick painted in pink and in yellow; 
Stranger were Peter and Karl, fat little Jan and Katrina, 

Shod in their thick wooden shoon, chattering Dutch to each other. 
Gay little playmates and kind, soon were they friends with the 
English; 

Soon did they gambol and play, using the language of childhood. 

TABLEAU II 

Dutch and Pilgrim Children Playing *‘Ring-a-round-a-Rosy” 



CHILDREN OF THE “MAYFLOWER” 


13 


Years travelled quietly by in the watery land of the tulip, 
Children were born and grew up, old folk fared hopefully on¬ 
ward; 

Yet had the Pilgrims no rest, yet did they seek an abiding 
Far from the land that they knew, still to America turning. 
Many the meetings and plans, fervent the minister’s praying; 
Far was the Fand of the Promise, little they knew of its nature; 
Only they knew that ’twas vast, only they knew it spelled freedom, 
Freedom to worship and work, room for themselves and their 
children. 

Toiling and praying the band, led by the light of their vision, 
Gathered their worldly possessions, backward to England turned 
them, 

Thence with a few of their friends, godly in mind and in purpose, 
Sailed in two ships of their choice, Flow’r of the May and the 
Speedwell. 

TABLEAU III 
Embarkation of the Pilgrims 


Soon did the Speedzvell return, false to her name and her rating. 

Mayflower back to the shore, guarded her suffering sister, 

Then with her passengers brave, sped on her way o’er the water. 

Incense of song and of prayer rose from her hold and her cabin; 

Gloomy and dark though the way, fair shone the future before 
them. 

Maidens and matrons were there; Prudence and little Remember, 

Older and wiser become, minded their book and their sampler; 

Love, on the turbulent deck, followed Myles Standish, the Cap¬ 
tain. 

Five score of Pilgrims embarked, goodwives and goodmen and 
children, 



CHILDREN OF THE “MAYFLOWER” 


14 

Then through the storm and the wave hurried another wee 
Pilgrim, 

Straight to the arms of his mother, eagerly waiting to hold him. 
Child of the Ocean was he, Ocean in truth did they name him, 
Joy of the voyage to all, treasure and pleasure and plaything. 

TABLEAU IV 

Occanus Hopkins in the “Mayflower” Cabin 


Week followed comfortless week on the brave and adventurous 
journey; 

Staunch w r as the Mayflower still, facing the wind and the tempest. 

Twice thirty days did they sail, faithful and prayerful and hope¬ 
ful, 

Till in the chill of November, land was descried in the distance. 

Prudence and Love and Remember, dreaming of parrots and 
palm-trees, 

Saw but a desolate shore, heard but the thunder of breakers. 

Silent and cold was the land, dark was the forest behind it; 

Freedom might wait for them there, peril and danger were 
certain. 

Still were the Pilgrims content, confident God would preserve 
them, 

Counting their trials below, helps on their heavenward journey. 

While that they drifted and sailed, gazing all eagerly landward, 

Came yet another aboard,—Peregrine White did they call him, 

Pilgrim by birth and by name, child of the water and freedom. 

Soon must they find an abode, house all these mothers and 
children, 

Anchor the Mayflower now, row to the land in the shallop. 

This was a venture for men, resolute, stalwart and sturdy, 

Yet did Love find him a place, noted of none in the hurry. 


/ 




CHILDREN OF THE “MAYFLOWER” 


* 5 


Near to John Alden he stood, close by Myles Standish, his hero. 
Swiftly they stepped from the boat; now was their journeying 
ended, 

Raising their voices they prayed, thanking the mighty Jehovah. 

TABLEAU V 
Landing from the Shallop 


High on the Mayflower deck, Prudence and little Remember, 
Ringed by the rest of the flock, Damaris, Francis and Joseph, 
Samuel, Wrestling, John, Constance, Desire and Mary, 

Soberly, quietly watched the shallop swing over the water. 

What would they find on the shore? Welcome and comfort and 

plenty? 

Nay, but a frost-bitten land, wrapped in the shroud of the winter. 
Naught could they see but the trees, pointing their evergreen 
steeples, 

Save on the crest of a hill the vanishing form of a savage. 
Hurrying hither and yon, prudently, cautiously questing, 

Found they a hillock of sand, holding a bow and some arrows, 
Found they a basket of corn, mottled in blue and in yellow, 
Goodly and fair in their eyes, promise of harvests in plenty. 
Where should they choose them a home? Timber they needed 
and water, 

Land that lay full in the sun and for their shipping a harbour. 
Wise men and thoughtful were these, Pilgrims who looked to 

the future, 

So did they ponder and pray, asking their God for His counsel. 
Pent in the Mayflower still, goodwives and grandams and 

children, 

Longed for the feel of the ground, wearied of bounds and con¬ 
fining. 



CHILDREN OF THE “MAYFLOWER” 


16 

“Lend us the shallop,” they cried, “here are we peaking and 
pining; 

Take us, we pray, to the land; bring us fair water for washing!” 

So,'with a boat full of clothes, sturdy young housewives and 
mothers, 

Hopkins and Fullers and Whites, Allertons, Minters and Brew¬ 
sters, 

Set on their way to the shore, followed by frolicsome children, 

There on New England’s soil, set up their altar domestic. 

TABLEAU VI 

The First New England TVashing-day 


Finally all were agreed, Governor, goodmen and Captain, 

Choosing from all they had seen, land on the harbour of 
Plymouth. 

Now was there bustle and haste, landing of men and of women; 

Now not a moment to waste, winds of the winter were blowing. 

First must they raise them a house, safe and secure from the 
savage, 

Use it in common until each could prepare his own dwelling, 

Some felled the trees in the wood, some dragged the logs to their 
places, 

Francis and Wrestling and Love cut down the rushes for thatch¬ 
ing. 

When all was ready to build, out of all days it was Christmas! 

Yet did they use it for toil; Christmas day “none of them rested.” 

Rude was the dwelling they built, logs with but mud for their 
filling, 

Windows of paper and roof covered with rushes in bundles. 

Rude was the Common-house; still, sacred to them who had 
builded, 

Sacred to all who revere liberty, courage and freedom. 



CHILDREN OF THE “MAYFLOWER” 17 

When all the Pilgrims it held,—Standishes, Coopers and 
Carvers, 

Bradfords and Winslows- and Mores, Molines and Chiltons and 
Howlands,— 

When there arose from within, chorus of prayer and thanks¬ 
giving, 

Far in the forest the wolf felt a new era was dawning. 

“Thanks do we give to the Lord!” chanted the men and the 
women, 

“He hath delivered us all out of the bonds of affliction; 

Unto Jehovah we cried, He has relieved our distresses.” 

TABLEAU VII 
First Meeting in Plymouth 


Swift came the trial of faith, now that their journey was over; 

Pestilence knocked at the door. Winter besieged them and 
hunger. 

Raising their dwellings they toiled, goodmen and goodwives and 
children, 

Armed with the musket and sword, ever alert for the redskin. 

Giants of labour were they, giants of strength and of courage, 

Yet like a tree, when an axe cleaves through its bone and its 
fibre, 

So did they totter and fall, bruised and shattered and broken. 

Brief was their stay in the Land, eagerly looked for and longed 
for, 

Soon had they taken their flight to “Heaven, their dearest of 
countries.” 

There on the slope of the hill, fronting the harbour of Plymouth, 

Ere that the winter was o’er, half of the Pilgrims were sleeping. 

What of the rest of the band? Praying and toiling and hoping, 




18 


CHILDREN OF THE “MAYFLOWER” 


Still did they hold to their faith, still did they trust in their 
Maker. 

Neighbours were not in those days, vessels came not to the 
harbour, 

Yet on a desolate morn, Prudence and little Remember, 

Saw from a chink in the log serving as door to their cabin, 

Indians, stalwart and strong, feathered and fur-clad and painted, 

Stride, unafraid, down the street, crying out “Englishmen, Wel¬ 
come !” 

Samoset headed the band, dignified, wise and courageous, 

Coming to spy out the land, coming to trade and to barter. 

Straight to the Common-house went, Samoset, friend of the 
English, 

There with the Governor talked, gazed on by wondering 
children. 

TABLEAU VIII 
Meeting with Samoset 


Following Samoset came,—Chief of the tribe,—Massasoit, 

Splendid in deer-skin and fur, plumage of owl and of eagle. 

Indians followed him; one, reft of his home and his kindred,— 

(Squanto they called him,)—remained, teacher of fishing and 
hunting. 

Soon there was spring in the air, soon came the wild geese a- 
honking, 

Soon Squanto turned from the chase, said ’twas the season for 
planting. 

Fish must be caught in the brook, laid with the corn in the hillock, 

Such was the Indian way, eager the lads to pursue it. 

Now as the sun gathered strength, babies were set in the door¬ 
way, 

Windows were opened and near fluttered the earliest robin. 




CHILDREN OF THE “MAYFLOWER” 


19 


Pilgrims at work in the field, gloried that winter was over; 
Grandams and goodwives rejoiced, yet never lessened endeavor. 
Lo! it was May time! and Love, soldier-like, musket on shoulder, 
Guarded a flock to the woods, sober in dress and demeanour. 
Sober without, but within, hearts were a-leaping and dancing, 
Children of Pilgrims were they, yet were they children of spring¬ 
time. 

There at the edge of the wood, timid and shy in the shadow, 
Waited an Indian lad, waited an Indian mother, 

Eager to join with the band, share in the innocent revel. 

Seeking for flowers they went, gathering fern-spray and bracken, 
Shooting with arrow and bow, sailing their ships in the brooklet. 
Straying a moment apart, Prudence and little Remember, 
Breathed on a sudden a scent, essence of May and of spring-time. 
Well might it fall from the sky, brought on the wing of a blue¬ 
bird, 

Yet it arose from the earth, deep in the leafage and shadow. 
Suddenly, missing the pair, swift all the rest of the children, 
Flew like a covey of quail, eager and fleet to rejoin them, 

Fell to the ground on their knees, aided the search for the 
fragrance, 

Found it and held up aloft,—what but a spray of arbutus! 

Then from his sentinel watch, musket on sentinel shoulder, 

Love made his way to the group, worshipful, silent, adoring. 
“What shall we call it?” they cried. “Thou who art wiser and 
older, 

Sure thou canst find out a name fit for this earliest blossom.” 
Still in the harbour beyond, lingered the ship that had brought 
them, 

Lingered the Mayflower , loath to depart, yet making ready to 
leave them. 

“If that our Mayflower go,” answered them Love, as they bade 
him, 

“Need we another on land, promise of peace and protection. 



20 


CHILDREN OF THE “MAYFLOWER” 


Call it the ‘Mayflower’ then, so shall the blossom be dearer, 
Named for the ship that we prize, ark of our safety and free¬ 
dom.” 

Thus was the Mayflower named, ever it greets us in springtime, 
Emblem of courage and faith, like to the faith of the Pilgrim. 

TABLEAU IX 

Finding of the M ay flowers 


DIRECTIONS FOR PRODUCTION 


Tableau 

I 

Puritan Children in Scrooby Garden. 

<< 

II 

Dutch and Pilgrim Children Playing. 

a 

III 

Embarkation of the Pilgrims. 

u 

IV 

Oceanus Hopkins in the Mayflower Cabin 

<c 

V 

Landing from the Shallop. 

a 

VI 

First New England Washing-Day. 

a 

VII 

First Meeting in Plymouth. 

u 

VIII 

Meeting with Samoset. 

u 

IX 

Finding the Mayflowers. 



CHARACTERS 

Reader 


John Alden 

Prudence 


Myles Standish 

Love 


Elder Brewster 

Remember 


Pilgrim Men and Women 

Other Pilgrim Children Samoset 

Dutch Children 


Other Indians 

Indian Lad 


Indian Mother and Papoose 


COSTUMES 

Nine tableaux are suggested for the story, but all of them need not be 
used, those being selected which best fit the size of the stage and the age, 
number and resources of the performers. There is no change of costume 
during the progress of the scenes save for the addition of a weapon, a cloak, 
or a head-covering. 



CHILDREN OF THE “MAYFLOWER” 


21 


Reader .—The Reader appears in costume and may be garbed like any one 
of the chief characters in the story, except, of course, the Indians. Elder 
Brewster, Capt. Standish, John Alden, a Pilgrim Child, or Priscilla 
Molines, (who is not mentioned by name) are all suitable for the part. It 
is advised that the whole story be given first by the Reader, and then the 
lines preceding each tableau be repeated. Reader does not leave stage, 
(unless it is very small), but sits at side in a picturesque, high-backed chair, 
rising whenever reading is to be done. 

Prudence, Remember, Love .—These parts are taken by two different 
sets of children. In the first and second tableaux they are small,—about 
six, four, and eight years respectively. Several years elapse before they 
are seen in Tableau III when Prudence may be supposed to be ten, Love 
twelve, and Remember eight. The costumes remain of the same fashion, 
of course. The girls wear full skirts reaching the floor, of dark blue, green, 
gray, brown or black, fashioned of any soft material, cotton or wool; long- 
sleeved waists with wide white cuffs, and white kerchiefs folded over 
shoulders and reaching waist. Their hair is parted, brushed smoothly back 
and tucked up under white caps of “Priscilla” pattern. All wear white 
aprons and one-strap slippers, or low shoes. A dark full cape may be added 
for out-door scenes. 

Love wears full, dark knee-breeches, dark hose and low buckled shoes, 
a belted doublet with wide white turn-over collar and cuffs, “boxed” hair 
and adds a dark round cap, like skull-cap, for out-door scenes. 

All other Pilgrim children are attired in similar manner, using various 
colors in dresses. 

Dutch Boys .—Very full, wide trousers to knee of Copenhagen blue, 
buttoned to short-waisted dark waist. Sleeves blue also. Flaxen hair 
(ravelled rope), long in neck and straight across forehead, with round dark 
cap set on back of head. Dark hose, wooden shoes, which may be well 
simulated, as lately suggested by an ingenious teacher, by rubbers worn over 
slippers, the rubbers being coated beforehand with the liquid whiting used 
for canvas shoes and then dusted with corn-meal. 

Dutch Girls .—Very full Copenhagen blue skirts to ankle worn over 
many petticoats. Sleeves to elbow, like skirts and short-waisted dark waists 
with round Dutch necks. Beads about necks. Dark hose, wooden shoes 
and white Dutch caps. 

Pilgrim Women .—Dressed like little girls, though some, as in George 
H. Boughton’s picture of “Priscilla,” may wear short capes to waist and 
for out-door scenes dark hoods tied with ribbons under chin, and white 
borders folded back. 

Pilgrim Men .—Dressed like boys with addition of weapons and tall 
dark steeple-crowned hats. They may also wear dark capes, three-quarter 
length, if desired. 

John Alden.—As above. 


22 


CHILDREN OF THE “MAYFLOWER” 


Myles Standish. —The statue of Myles Standish in Duxbury, Mass., is 
dressed as above with addition of top boots, gauntlets, a long cape and a 
sword and sword-belt. He has a ruff about his neck and wears moustache 
and pointed beard. In Sargent’s picture in Pilgrim Hall he is dad in dark 
crimson, including cape, and wears a helmet. He is often pictured also 
wearing armor and carrying musket on shoulder. 

Elder Brewster. —Long black gown to feet, white turn-over collar and 
cuffs. Black skull-cap. 

Samoset and other Indians. —Indian costumes are so frequently to be 
seen in pictures that they need scarcely be described. Samoset may wear 
three eagle feathers in his long hair and beads about his neck. If close- 
fitting tan-colored underwear is to be had, he may wear this and be draped 
with skins, (fur rugs), wear moccasins and carry a bow and arrows. Lines 
of red and black are painted upon his face, and he carries a little hatchet 
at his belt. The other braves are dressed like Samoset, but without feathers, 
or they may wear Indian Boy Scout costumes. Failing all else, Indian 
suits may be made of buff cambric, fringed (to imitate buckskin) with 
colored borders of wax crayons. 

Indian Mother. —Squaw wears a loose sack with wide sleeves and a 
narrow skirt to ankles of buckskin (cambric), edges of skirt, sleeves, and 
sack cut into fringes. Hair is parted and braided in two braids. She has 
a beaded band across her forehead and round her head, which helps in 
carrying papoose basket. This, if not to be had, may be fashioned from 
corrugated board after a picture, the papoose, whose head only is seen, 
being a large doll. 

Indian Lad. —Dressed like Samoset and other Indians, no hatchet, beads, 
or feathers in hair. 

TABLEAU I 

Puritan Children in Scrooby Garden 

Seven of the nine tableaux are out-of-door scenes, so much of the stage 
setting may be retained throughout. Evergreen trees of different heights, 
set in dark-green stands covered with boughs, may be placed in irregular 
line across the back and in the corners of the stage, and need not be moved 
at all, being shut off by screens or drapery for the two in-door scenes. For 
Scrooby Garden tall hollyhocks (paper) may grow in front of the trees and 
if a sun-dial, a picturesque bench, or a large urn with blooming plants can 
be procured, the effect of a somewhat formal garden will be produced. A 
blossoming fruit-tree may be set at left of stage, if desired, bare branches 
being cut and trimmed with home-made flowers of Dennison paper. 

Love occupies centre of stage and may stand on a stool behind bench, if 
there Is one, using the back as a pulpit. If no bench, a perch in a tree 
may be improvised. Failing this, bring in a small step-ladder, throw a 


CHILDREN OF THE “MAYFLOWER” 


23 


dark drapery over it and let Love mount it, using the top for his book. 
He lifts book slightly with left hand, looks out at audience through his 
grass spectacles, and with his right hand extended, is expounding Scrip¬ 
tures. Prudence sits right front, on garden chair or low stool hemming a 
sail for the boat that Remember, kneeling beside her, left front, is holding 
up. 

Love must be distinctly above the other two figures as if in high pulpit. 

TABLEAU II 

Dutch and Pilgrim Children Playing “Ring-around-a-Rosy” 

The same background is used for this tableau, the hollyhocks and furni¬ 
ture being removed and a bed of tulips (paper) substituted. The arms of 
a wind-mill, wood or cardboard, should, if possible, be fastened to an 
upright and seen at side or back of stage. 

A number of children, alternately Dutch and English Remember among 
them, are standing, hand in hand, as if ready to dance, in centre of stage. 
If preferred, one may stand facing audience, the next one back to same, 
and so on. Prudence and a Dutch girl of same age stand knitting, right 
front, looking at the little ones, while Love and a Dutch boy, kneel left 
front, spinning a top. If desired, music may strike up and the children 
begin to dance around as curtain falls. 


TABLEAU III 

Embarkation of the Pilgrims 

This is an ambitious tableau and can only be given effectively on a large 
stage, or out-of-doors. In the painting by J. Alden Weir, the great main-, 
mast and the white sails of the “Mayflower” hang loosely behind the group, 
and if a large piece of canvas is to be had, it may be suspended from the 
ceiling and serve as a background. If not, the trees must be concealed by 
screens or curtains. 

A low platform is set in centre of stage on which several of the principal 
figures are kneeling. Centre of back of platform place Elder Brewster, 
(kneeling) holding a large open Bible and looking upward as if in prayer. 
On his right (left of stage, looking from audience,) also kneeling, place 
an old Pilgrim woman with white hair, eyes cast down, and next her, 
Prudence, her hand in her grandmother’s as she listens. Next to Prudence, 
left front (not on platform) a man and woman are seated on deck, hands 
clasped and heads bowed. On the left of Elder Brewster place a Pilgrim 
(on platform) his hat in his hand, his head bowed and next him, Love in 


24 


CHILDREN OF THE “MAYFLOWER” 


similar position. Remember should be placed next her brother, kneeling, 
hands held up with palms together, eyes closed, but turned heavenward. 
Captain Standish kneels on floor, on one knee, right front, head bowed, 
leaning on his sword held in front of him by both hands. A woman in 
rear (standing), back to audience, weeps, with hidden face, on her hus¬ 
band’s shoulder. The other figures may be grouped according to size 
of stage, but must be standing in background and if desired, a lady in court 
costume, velvet and lace, ruff, square-necked dress and white plumed hat 
may be seen standing at left of group listening to prayer. This figure 
(probably meant for Rose Standish) is seen in Weir’s painting and is effec¬ 
tive as a contrast. High light of tableau is the minister with the open 
Bible, and positions must be rehearsed till the performers can take them 
naturally and suit their expressions to the solemn scene. 


TABLEAU IV 

Oceanus Hopkins in the “Mayflower ’ Cabin 

To produce the effect of the Mayflower cabin, which must have been 
small, dark and crowded, the scene must be shut in by screens or curtains 
and dimly lighted. Somewhat to the left of centre of stage sits Goodwife 
Hopkins, the baby Oceanus, (a large doll) in her lap, his head toward the 
audience, resting in tne bend of her right arm. He wears a long white 
dress and a white round cap. His mother is bending over him, three-quarter 
face toward audience. On the floor in centre of stage is a cradle (Post¬ 
card of Fuller cradle—A. S. Burbank, Plymouth, Mass.) which may be 
made of a box stained brown, with a hood or headpiece and rockers added. 
By the cradle, right front, Remember is kneeling arranging the coverings. 
Back of Goodwife Hopkins stands Prudence, leaning over baby and dan¬ 
gling a ball to attract his notice. A stand near the group holds a candle or, 
if it can be obtained, a lantern of pierced tin. On right of stage sits an 
old woman with an open book in her lap, but looking at the baby. In the 
background ar£ other figures, dimly seen, one of them a woman knitting. 
Arrange the lighting to give prominence to mother and child. 


TABLEAU VI 

Landing from the Shallop 

The trees appear again for this tableau and form a background for the 
scene. The bow of a boat is seen left front, held by a rope wound about 
a stone, which one of the men (facing boat) is holding with straining grasp. 
Platform used in Embarkation is again in place to give a difference of level 


CHILDREN OF THE “MAYFLOWER” 


25 


to the figures and a dark covering thrown over it roughly, will give some¬ 
what the appearance of a rock. One man, seated in boat, is helping to 
hold it with extended oar. Two men are standing behind him, muskets by 
side, ready to step out. One is just stooping over gunwale, musket in 
right hand, giving his left to Love who helps him from his stand on rock. 
In centre of stage is a group of men. The prominent figure is John Alden, 
facing right, hat in right hand, gun in left resting on rock. Profile to 
audience and eyes to Heaven in thanksgiving. Myles Standish, wearing 
helmet and high boots stands on his right, and the other men are grouped 
about, all with arms grounded, all wearing hats and capes and all with 
eyes raised in prayer. 


TABLEAU VI 
First New England Washing-Day 

The scene is the same as for previous tableau, and the boat may be left 
in place and heaped with clothing, white and colored, ready for washing. 
The largest kettles procurable are hung from poles across crotched sticks 
on right and left of stage. A fire of sticks with red tinsel paper below them 
is laid under each of them, and a woman with sleeves rolled above elbows 
and skirt bundled up under long apron stands watching each one, a long 
stick in hand. Centre front is a tub raised on stones or blocks of wood, 
and a woman is bending over it scrubbing clothes. (No washboard.) 
Across back of stage a line is strung, and Prudence, back to audience, sleeves 
and skirt rolled up like her elders, is hanging wet clothes upon it. If suffi¬ 
cient space, Love and other lads may be seen bringing wood for fires. 
Centre front of stage sits a group of children, Remember among them, 
playing with shells. At extreme right and left of stage stand two Pil¬ 
grims on guard, stern and motionless, muskets on shoulders. 

TABLEAU VII 
First Meeting in Plymouth' 

This is one of the two indoor scenes and may be omitted, if too difficult. 
The trees must be screened or curtained, and in the centre of stage a pulpit 
or reading-desk improvised. A table with a box upon it, draped with a 
dark covering and set high on wooden blocks will serve. Elder Brewster, 
standing behind it, (skull-cap removed) also on stool or box, dominates 
scene. An open Bible lies on pulpit and with raised hand he is pronounc¬ 
ing benediction. This is supposed to be the first meeting in the Common- 
house, and is a sacred and solemn occasion. All the performers may be on 
the stage if there is room enough, some standing, some seated on stools, 


2 6 


CHILDREN OF THE “MAYFLOWER” 


some on the floor. Oceanus Hopkins is there in his cradle, watched over 
by Remember, and also the baby, Peregrine White, in his mother’s arms. 
Sickness has already begun among the Pilgrims, and an old man is to be 
seen, left front, stretched out on the floor, his head in the lap of an old 
woman who bends over him. All the men are without weapons and hold 
hats in hands and women and girls have laid aside capes and hoods, though 
still wearing caps, of course. Place Love, Prudence and Myles Standish 
in prominent positions. At back of stage where entrance-door is supposed 
to be, set a guard in hat and cape, musket on shoulder. When tableau has 
been enjoyed for a moment, John Alden may step forth, if desired, and 
motion all to rise, leading them in singing a metrical version of one of the 
Psalms to the tune of the Old Hundredth. 

TABLEAU VIII 

Meeting with Samoset 

Screens or curtains may now be finally removed as the last two pictures 
are out-of-door scenes. 

Right centre of stage stands a tall and stalwart Pilgrim, bareheaded and 
unarmed, representing the Governor of the Colony, his right hand out¬ 
stretched in greeting, and Captain Standish beside him, his musket in 
place, two or three men behind him, also with weapons. On the left 
stand Samoset and his followers, Samoset with outstretched arms evidently 
crying, “Welcome! Englishmen!” One Indian is making a similar gesture, 
but another, somewhat behind the rest, has his hand on his hatchet and 
watches the strangers with unfriendly eyes. One or two Pilgrims, left 
front, watch the redskins in their turn and here and there among the trees 
children are peeping out. Place Love on a step-ladder behind one of the 
trees, his head emerging from the boughs, as if he had climbed there. If 
there are any windows at back and sides of stage, fill them with the white- 
capped heads of the women. 


TABLEAU IX 
Finding the Mayflowers 

This tableau is a woodland scene and more trees or boughs should be 
introduced, if possible, bringing some well toward the front. The moment 
chosen is the one of asking Love to name the new-found flower, and all 
the children in the company are present with the addition of the squaw, 
papoose and Indian lad. A hillock made of cushions covered with drapery 
should be improvised on centre right of stage and covered with pine-needles, 
if possible. The children are grouped about the hillock, some of them on 


CHILDREN OF THE “MAYFLOWER” 27 

their knees among whom are Prudence and Remember and some standing, 
bending over to see the new flower. 

Love, grave and martial under his charge of sentinel, stands (now with 
Pilgrim hat and cape and musket on shoulder,) in centre of stage facing 
audience. He is looking down at the flower which one of the children 
holds up and with his right hand out, and forefinger extended, is laying 
down his views as to its name. Some of the children are sitting back on 
their feet, looking up at him in admiration. The Indian lad stands near 
him (left) about to shoot an arrow from his bow, but arrested by Love’s 
words and half-turning toward him to listen. The squaw, with papoose 
on her back, stands left of group with wondering face. All the children 
save Love are without hoods, caps or capes, and some hold ferns, some 
twigs and bunches of young leaves. 

(Suggestions for the costumes and grouping in these tableaux may be 
found in the Perry and in the Brown pictures and in the Pilgrim post¬ 
cards.—A. S. Burbank, Plymouth, Mass.) 









BLUEBEARD IN VERSE 


CHARACTERS 

The Reader of the Play 
Fatima 

Two Brothers 
Sister Anne 
Bluebeard 

Servants and followers 


30 



BLUEBEARD IN VERSE 

A Tragedy for Pantomime or Shadow-Picture 

SCENE I 

In Constantinople, by Bosphorus’ waters, 

An old lady lived with a pair of fair daughters, 

Two Turkish Delights of an exquisite beauty, 

Devoted to virtue, and models of duty. 

The one was called Fatima, Anne was the other, 

And each of the two had a gallant young brother. 

The charms of the maidens were everywhere known, 
From the gardener’s cot to the Sultan, his throne; 

And suitors in hosts with each other were vying, 

But having no fortunes were sent off a-sighing. 

A few leagues away, over hedges and ditches, 

A nobleman lived, of incredible riches. 

31 























3 2 


BLUEBEARD IN VERSE 


He’d wed an inordinate number of wives, 

And nobody knew how they’d ended their lives; 

Still, no ladies feared when he happened to choose ’em, 

But said if they’d ninety-nine lives they would lose ’em 
For love of his castle, his equipage grand, 

H is fields of tobacco, his jewels and land. 

His name it was Bluebeard, you’ll quickly see why 
When I tell you his beard was the hue of the sky. 

• • • • • • • 

Now Fatima sang, and one fortunate day, 

As Bluebeard rode by in his gorgeous array, 

She carelessly carolled, with innocent smile, 

While Bluebeard, arrested, was snared by her wile, 

“Oh, Green is forsaken, and Yellow’s forsworn; 

But Blue is the loveliest color that’s worn!” 

This touching allusion old Bluebeard o’erheard, 

And rushed to the lattice where warbled the bird. 

“Sweet Fatima,” cried he, “but swear thou’lt be mine, 

And all my possessions shall straightway be thine.” 

Fair Fatima blushed; but she owned she had loved him 
Since first in her pathway Dame Fortune had shoved him, 
And, wedding bells chiming from mosque and from dome, 
The bride and her sister escorted him home. 

SCENE II 

The honeymoon over, old Bluebeard one day 
Remarked that his business called him away; 

But said, in his absence, his ladylove might 
Carouse in his castle from morning till night 
So long as she opened no portals forbidden, 

Nor hunted for objects designed to be hidden. 

“The keys to my storeroom I give thee,” he said; 

“The keys to the jewels I wore when we wed; 


BLUEBEARD IN VERSE 


33 


The keys to my silver, the keys to my gold: 

But tamper not, madam, with this key I hold: 

It opens a door to a terrible room 

Whose air, once you breathe it, will lead you to doom. 

Obey me, my love, and there’s nothing to fear; 

But thwart me and Death will be hovering near!” 

••••••• 

{Thundering chords here.) 

••••••# 

Her lord and his retinue once out of sight, 

I he bride and her sister in greatest delight 
Laid hold of the keys, and by set of the sun 
1 hey'd opened all doors in the castle, save one! 

Anne halted at that one, and warningly said, 

“Whatever you find here may cost you your head.” 

But curious Fatima, not to be daunted, 

Declared she would open it, though it were haunted. 

She caught up the key, turned it swift in the lock; 

She peeped in the doorway, and—terrible shock!— 

Beheld the incredible number of wives, 

All hung to the wall as they’d ended their lives. 

The door slowly closed, and she fell in a swound, 

While all through the castle her shrieks did resound. 

Anne bore her away from the horrible place, 

Reminding her fondly there wasn’t a trace 
To show she had opened the hideous portal. 

But Anne was in error, like all that are mortal, 

For Fatima let fall the key when she fell, 

And each of its stains the whole story could tell. 

SCENE III 

They scrubbed it with sand in their fear and their pother, 

But cleaned on the one side, the stain came on t’other; 



34 


BLUEBEARD IN VERSE 


And while they were scrubbing it, swift on their track, 
His scimitar flourishing, Bluebeard came back! 

He ordered the keys as he entered the hall, 

While his bride and his servitors ran at his call, 

And, seeing them, thundered, “There’s blood on the key! 
Now, madam, good madam, pray why should this be?” 
Alas! for poor Fatima, what could she say? 

Fler guilt was discovered, as plain as the day. 

She trembled and shook, for she feared his assault, 
Imploring grim Bluebeard to pardon her fault. 

“No, never!” he shouted. “I’ll smite off thy head: 

A curious woman is far better dead!” 

She begged for a moment to whisper a prayer, 

And this being granted, she cried up the stair,— 

While Bluebeard went raging about in his den, 

With curses and growling as loud as ten men:— 

“Oh, sister Anne, sister, look out from the tower 
And see if our brothers are riding this hour!” 

“Nay, Fatima, nay, love; there’s naught to be seen 
But the sun making dust and the grass growing green.” 
“Oh, sister, I pray thee, look only once more !” 

But while she thus pleaded, the Turk at the door 
Was heard shouting, “Fatima, come out to me, 

Or, by the great Prophet, I’ll come in to thee!” 

“Dost see naught a-coming?” poor Fatima cried. 

“A flock of sheep only,” her sister replied, 

And swift on the answer the headsman appeared, 

H is face dyed with anger, as blue as his beard. 
Half-fainting, poor Fatima heard Anne say, 

“Our brothers are coming, but still far away.” 

And while the grim tyrant most horribly swore, 

And hair from her head by the handful he tore, 

She listened for hoof-beats, with palpitant breath, 

For naught but her brothers could save her from death. 



BLUEBEARD IN VERSE 


35 


Up whirled the dread scimitar, seal of her fate, 
When, sudden, a knocking was heard at the gate. 
In rushed the bold brothers, and soon in its gore 
A head, but not Fatima’s, rolled on the floor! 

• • • • • • 
What more should there be of this tragic recital? 
Already you know every point that is vital. 

The widow fell heir to old Bluebeard’s estate, 

And made her two brothers both wealthy and great. 
She dowered her sister, and then, so they say, 

She married a smooth-face, a Chink from Cathay. 


CHARACTERS 

The Reader of the Play Sister Anne 

Fatima Bluebeard 

Two Brothers 

Servants and followers, male and female, as many as desired. 

COSTUMES 

Turkish costumes, w T ith gorgeous turbans, and slippers with turned-up 
toes are worn by all the characters. (Dictionaries and Encyclopaedias will 
furnish models.) Fatima and Anne may wear pale blue and pink, respec¬ 
tively, their “zouave” jackets, (black or of contrasting colors), and slippers 
being trimmed with gilt paper. Anklets worn in Scenes II and III. They 
throw 7 vehite veils over heads and faces w 7 hen they set off with Bluebeard for 
his castle. B’s sweeping beard may be of horse-hair, flax or wool, which 
can easily be dyed w ith any of the preparations now on the market. His 
costume should be black, or yellow and orange, and he w T ears at his side an 
immense scimitar with jewelled hilt. (Wood, painted.) The bride’s 
attendants, (if any desired) wear white; the Brothers and B’s followers 
scarlet, dark-blue and green, all these carrying smaller scimitars. 

• All the characters, male and female, must be furnished with hobby¬ 
horses, w 7 hose heads the children can carve and paint. The costumes may 
be of velvet and satin, silk and cotton, cambric, sateen or crepe paper, 
according to the resources of the performers. The colors are important, 
however, if used as a pantomime. 

The keys, w-hich are four or five times the usual size and hung to an 
immense ring, should be of wood or heavy pasteboard and variously col- 



36 


BLUEBEARD IN VERSE 


ored, the one belonging to the forbidden closet gilded or covered with gilt 
paper. The scimitars (see Dictionary) of same material are silvered, with 
particolored hilts. 

SCENE I 

A Turkish interior may be simulated with a divan and plenty of cushions, 
a low table with black coffee outfit, a Turkish pipe with long tube, a carved 
chair or two and any dark, rich hangings, not distinctively Chinese or 
Japanese. If this interior is attempted, two doors and a window (high up 
in wall and practicable) must be shown. All these furnishings should be 
reserved for Scenes II and III as Scene I may be supposed to take place 
in front of the home of the “Turkish Delights.” 

If children cannot obtain the proper furniture, the stage may be hung 
with curtains of neutral tints, (gray or fawn) which will attract no atten¬ 
tion, or may be set with plain, dark screens. 

F. and A. may mount a step-ladder behind these and part them when they 
appear at the window. 

At Line 3 of pantomime F and A appear from right and glide slowly 
across stage, followed by Brothers, on foot. F. holds hand-glass and ad¬ 
mires herself while crossing. A. follows with bent head and hands folded 
on bosom. Brothers cross in swaggering manner, with heads held high, 
hands on scimitars. Crossing may occupy first ten lines. 

At Line 12 (“A nobleman lived”) Bluebeard appears, mounted, and 
has 8 lines following to manage his prancing steed and disappear. At Line 
21 (“Now F. sang”) F. appears at window with lute (See Encyclopaedia), 
and B. returns, reining in steed and gazing at F. kissing hand, etc., and 
trying to reach up to window. F. may throw down a flower or handker¬ 
chief which he kisses and puts in bosom. 

At Line 31 (“Fair F. blushed”) she hurries from window and followed 
by A who has been waiting off stage with veils, hobby-horses and as many 
attendants as desired, gallops to B.’s side. B. tries to embrace her while 
their horses prance and curvet and wedding party rides off to bell accom¬ 
paniment from piano. 

SCENE II 

Curtain rises and F. is discovered reclining on cushions, left front. 
Female attendants, (if desired) may sit near, one playing the lute, one 
fanning her mistress. B. enters with ring of keys and may use 7th to 14th 
lines for his commands, threats and departure. At 15th line A. appears. 
F. shows her keys and explains her designs and the sisters run hurriedly off 
stage, while rattling of keys and banging of doors is heard without. At 
Line 21 they return, F. holding fateful key. She moves aside curtain or 
screen, watched by A. in despair, pretends to open door, peeps in and falls 


BLUEBEARD IN VERSE 


37 

in swoon, dropping key. Action is sufficiently indicated by lines for re¬ 
mainder of verse. 

SCENE III 

F. and A. discovered in distress and tears, cleaning key, which still hangs 
on ring, with others. F. has removed turban and hair is loose on shoulders. 
At Line 3 galloping horses are heard outside and B. rides in, followed by 
mounted attendants, if desired. He leaps from horse, gives it to follower, 
and holds out hand for keys. Servant brings them, and action thereafter 
is plainly indicated, up to Line 14. A. runs from stage, as if in fear, at 
Line 12, covering face with hands and mounts step-ladder behind curtains. 
She is followed by female attendants, if any. At Line 15, F. falls on knees 
and B. stamps from stage, waving scimitar, followed by attendants, while 
F. looks up to simulated window, where A. appears. Lines 19 to 27 are 
taken by conversation between sisters, which must be made as realistic as 
possible by pleading hands, tears, nodding heads, etc., F. still on knees. 
At Line 29 B. reappears and F. falls to floor, while A. leans down excitedly 
from window to tell news of Brothers’ approach. B. bends over F., at¬ 
tempts to raise her by hair, finally pulls her half way up and raises scimitar, 
when galloping horses and knocking are heard without, and in rush Bold 
Brothers, their scimitars waving above heads. A splendid combat ensues 
which F. (revived) A. (descended from her perch) and male and female 
retainers, (returned to stage) all view with excitement and no prejudice in 
favor of B. 

B. falls to the “Funeral March of a Marionette” or other suitable selec¬ 
tion, and is borne off by four stalwart followers. 

F., A. and Brothers take stage, surrounded by remaining attendants, 
while last six lines are read. F. and A. take centre of group, Brothers on 
either side, scimitars raised and touching, making arch over heroines’ heads. 
F. and A. hold clasped hands high and look up to Brothers in joy and 
gratitude. 






BRIAR ROSE 


39 


CHARACTERS 

Reader 

King 

Queen 

The Princess 
The Prince 
Wicked Fairy 
Twelve Fairies 
Courtiers 
Attendants 
Children 


40 



BRIAR ROSE 


A fairy story in verse arranged for four tableaux 
With musical accompaniment if desired 


PART I 

Once on a time and centuries agone— 

So long the date is not in history,— 

There lived a King, a valiant king and wise, 
Whose Queen was wondrous good and beautiful. 
A happy pair they made, in gladness reigned, 

And nothing lacked except a nursery. 

Incense they burned and sacrifices made, 

Prayers did they say to gods and goddesses, 

Yet still the golden cradle empty stood 
And toys went begging for an ownership. 

41 






42 


BRIAR ROSE 


At last one day, down by the river's brink, 

Where strolled the Queen, with all her retinue, 

A tiny frog leaped to the silver strand 
And bowing low to all the company, 

Said, “Ere the year shall vanish quite away 
A daughter shall be granted to your majesty.” 
True was the prophecy, although the frog 
Never appeared again, nor claimed a recompense. 
True was the prophecy, a fairer babe 
Never was sung in folk or fairy-tale. 

The King, enchanted, made a splendid feast 
And summoned all his subjects to the christening. 
“Not one must be forgotten,” so it ran,— 

The order that he issued to the Chamberlain, 
“Woman or man, goblin, or fay, or sprite 
All must be bidden to the festival.” 

Plain was the order, but the careless knave 
Who held the royal post of Chamberlain, 

Trusting his memory, addressed the cards, 

Nor sought a name in the Directory! 

It happened as might very well be thought; 

Of thirteen fairies in the countryside 
Twelve were invited and the slighted one 
Was of all fairies most malevolent. 

Upon th’ appointed day, the King and Queen, 
Lady and Lord, a splendid company, 

Gathered about the cradle where the babe 
Slumbering lay ’mid silken drapery. 

Eleven fairies wished her every gift 
Of sober thought or wildest fantasy, 

When sudden entered one without a card, 
Withered and bent and scowling fearsomely. 

“ The Princess shall but reach her fifteenth year,” 
So did she croak, gesticulating horribly; 



BRIAR ROSE 


43 


“When in her hand a spindle she shall thrust, 
And she shall fall asleep to sleep eternally!” 
“It shall not be!” the thirteenth fairy cried, 
Out from a corner’s dim obscurity, 

“It shall not be; I pledge my magic word, 

She shall but slumber through a century.” 

Tableau I 

The Christening 


PART II 

The years rolled by; twice seven glided past, 
The lovely babe forever growing lovelier 
And safe from harm,—for every spinning-wheel 
Destroyed had been by Act of Parliament. 

The fateful birthday came, the very one 
Her future and the kingdom’s hung upon; 

But nobody recalled it, great or small, 

That Chamberlain had lost the Almanac! 

The King and Queen went out to take the air 
And plan a birthday in a week or so; 

The Princess, fair as any budding rose, 

Rambled among her sisters in the rosery. 

The sun grew hot, she sought a cooling shade 
And wandered in the palace labyrinth; 

She spied a winding stair, and climbing up, 
Descried a door within the masonry. 

A key was in the lock; despite of rust 
It turned, the portal opened creakingly, 

And there, within an old forgotten room, 

An old forgotten woman frowned forbiddingly. 



44 


BRIAR ROSE 


White was her head, her garments matched her eyes 
And those were black as blackest ebony; 

A wheel before her sang a merry tune, 

The spindle whirring most enchantingly. 
“Good-morrow, granny!” cried the princess fair, 
“Good-morrow, child!” the beldame, croakingly. 
“What do you, granny?” asked the royal maid, 
And, nodding to the spindle’s whispering, 

The spinner answered, “Here alone I sit, 

Turning the flax to thread for stitchery.” 

“And what is that like to a humming top, 

That turns and turns and turns so merrily?” 

“The spindle, child; draw near and fear me not; 
Mayhap you’ll take my seat to pleasure me.” 

The beldame rose, the princess took her place, 

The spindle felt her fingers’ witchery; 

Sudden it turned and pierced the little hand,— 

Oh cursed thing, that so could do her injury! 

The spell the wicked fairy had foretold, 

Fell on the maiden without remedy, 

She drowsed, she slipped and fell along the floor, 

A breathing image, gold and ivory. 

Tableau II 

The Fatal Spindle 


PART III 

The wicked fairy, for indeed ’twas she, 

Gazed on the victim of her sorcery, 

Then laughed a dreadful laugh and stick astride, 
Betook her through the window speedily. 



BRIAR ROSE 


45 


Still lay the statue on the dusty floor, 

Save where her quiet breathing stirred her drapery, 
Spiders began to weave a lacy web, 

Wrapping her closely in their tracery. 

. . . Sudden, a noise of hoof-beat in the court; 

A trumpet sounded from the balcony; 

The King and Queen returned and sought the maid, 
But from their sight she’d vanished utterly. 

Anon, a lap-dog to the Princess dear, 

Scratched at the door within the masonry. 

They heard his whining and they climbed the stair, 
To find their loved one sleeping fatefully. 

They raised her up with many a sigh and tear; 

They sought by every means to waken her 
And every effort failing, weeping still, 

They bore her to her chamber, silently. 

Scarce had her golden head the pillow prest 
When all about her fell a-slumbering,— 

The King, the Queen, the ladies of the Court, 

E’en to the heedless, rattle-pated Chamberlain; 
Horses and dogs, doves on the stable roof, 

Flies on the wall, the fire flickering, 

The cook who pulled the idle scullion’s hair, 

The breeze about the palace frolicking: 

The very leaves upon the very trees, 

Ceased on a sudden from their wavering,— 

Nothing was heard save measured breath and low, 
Like winds among the tree-tops murmuring. 

Such was the sleep, such was the death in life, 

That smote the Princess and her following. 

Tableau III 
The Magic Sleep 




4 6 


BRIAR ROSE 


PART IV 

A hedge of roses round the castle wall, 

Ever had grown, forever blossoming, 

But when the magic sleep enfolded all, 

Skyward it climbed, the stone encompassing. 

In time it cloaked the castle, tow’r and roof; 

In time it hid the banners fluttering, 

And armed with thorns, as fierce and sharp as steel, 
Preserved the precincts from all plundering. 

Hidden the princess lay from mortal eye, 

Set like a jewel in an amulet, 

And as the years went by in solemn train, 

Fame told her story to the countryside. 

Countless the legends touching Briar Rose,— 

(Such was her name, the sleeping damosel,) 
Countless the legends in as many tongues, 

Sung by the minstrels in their wanderings. 

Princes in foreign lands o’erheard the tale; 

Swift did they call their gallant servitors, 

And risking every peril, fearless fare 
To gaze upon her beauty’s wonderment. 

But all for nothing did they brave the seas 
And venture where she lay inanimate, 

For briar roses guarded Briar Rose 
And thorns her warders were, inviolate. 

At length the century had passed and gone, 

And on the very day, predestinate, 

A Prince there came who sought the living wall, 
Resolved to perish, or to penetrate. 

Naught would he hear of peril, or of pain, 

Naught of the countless knights discomfited, 

Of Briar Rose he dreamed, for Rose he sighed, 

To wake her from enchanted slumbering. 


BRIAR ROSE 


47 


He reached the wall, it turned to rosy bloom, 

Swift as a maiden’s cheek to compliment 
And flowers uncounted bowed a humble head, 

And owned him for their rightful sovereign. 

Within, he saw the garden’s wide expanse, 

Still as a picture in a panelling; 

The fountains, pent within their marble bowls, 

Stayed from their splashing and their pattering, 

The lackeys drowsed about the royal door, 

Snored in his gilded chair, the Chamberlain. 

The Prince himself dared scarcely draw his breath, 
Such was the magic hush that compassed him. 

He climbed the golden stair; the way he knew, 

Though ne’er his feet the ground had trod upon; 

He swung the hidden door and sudden saw 
A sight to set a blind man wondering! 

Sunk in the ripples of her golden hair, 

Like to a bee within the honeycomb, 

Lay Briar Rose, a statue living-fair, 

Fair as the visions seen in slumber-land. 

He bent above the laces of her bed, 

He kissed the rosy lips half-opening; 

She stirred, she woke, she opened angel-eyes, 

Deep as the jewels of the firmament. 

. . . Sudden, the King awoke, he blinked and yawned; 
“Marry,” quoth he, “I’m stiff with slumbering! 

Lady, awake !” he whispered to the Queen, 

“Here is a visitor, and where’s the Chamberlain?” 

• • • • • • i 

Soon as the royal pair awoke, the Court 
Opened its eyes in drowsy wonderment. 

’Twas scarce a moment ere the witch’s spell, 

Lifted and passed away to banishment. 

And Briar Rose? As lovely as her name 


4 8 


BRIAR ROSE 


Her life, her wedding’s swift accomplishment. 
No bride of legend ever half so sweet, 

No groom so gallant, so magnificent! 

, Tableau IV 

The Awakening 

Tableau V 
The IVedding 


DIRECTIONS FOR PERFORMANCE 

The lines of the “Briar Rose” story, as here given, are to be read or 
recited by a person who comes before the curtain for that purpose, retiring 
at the end of each part, when the tableau is to be presented. 

The Reader may be dressed as a fairy godmother, wearing a gay short 
skirt, chintz bodice and panniers, and white ruffles, and carrying a gilded 
wand; or she may be dressed in court costume with trailing gown and 
jewels and carry a jeweled wand. She must be white-haired and wear a 
tall black Mother Goose cap, in either case. 

Tableau I 

The first tableau, “The Christening,” may have as many participants as 
the stage will hold, or there are young people to call upon, as it represents 
a festival at which the entire court is present. The king and queen wear 
royal robes and crowns both here and in Tableaux III and V, and the 
courtiers may be dressed as grandly as their resources will admit. The 
thirteen fairies should be selected from the smaller children and should be 
as nearly of the same size as possible. Twelve of them should be dressed 
alike, in any picturesque costume, but in different colors. All carry gilded 
wands and wear tall Mother Goose caps (a circle of cardboard covered 
with black paper, silk or velvet, with a tall conical crown sewn in). The 
wicked fairy is dressed in black, is bent, has a hump, and leans on a crutch. 
Her white hair straggles from beneath her cap, and she may wear a 
black patch over one eye. 

The infant princess may be represented by a large doll and her cradle be 
made from a box, provided with rockers by any youthful carpenter in the 
company. The hood of the cradle may be made of barrel hoops cut in 
halves and nailed in place, and the drapery be of crepe paper, or lace cur¬ 
tains over blue cambric. 




BRIAR ROSE 


49 


The tableau represents the moment when the company is gathered about 
the cradle, which occupies the center of the stage. The king and queen 
stand at the right of the cradle and eleven of the fairies are grouped behind 
it, backed by lords and ladies. At the left stands the wicked fairy, who 
has just pronounced her curse. She starts back in astonishment at the 
appearance of the thirteenth fairy, who emerges from the right at rear of 
stage, wand raised in air, to change the eternal sleep to one of a century. 
Some figures in the tableau are shrinking hack in fear from the wicked 
fairy; some look with compassion on the king and queen, others toward • 
the thirteenth fairy. 

Tableau II 

This tableau represents the moment when the princess approaches the 
wicked fairy to accept her invitation and take her seat. . 

The stage should be dimly lighted and the spinning-wheel (a flax-wheel) 
set in the center. The wicked fairy (costume already described), holding 
the spindle in her hand, is turning toward the princess as if in invitation. 
The princess should be as beautiful as can be managed, and be dressed in 
white, preferably white lace or a filmy white with spangles or spots of 
gold paper sewn on. She wears a slender coronet (cardboard and gilt 
paper) or a wreath of flowers, and her long fair hair—eked out with 
raveled rope, if necessary—hangs loose upon her shoulders. 

Tableau III 

This tableau, to be effective, requires a raised platform at the center 
back of the stage on which the couch of the princess may be set. A canopy 
would make the scene much more effective, but the curtains must be so 
draped as not to obscure the sleeping figure, which is the high light of the 
picture. 

The princess lies on her side, her face turned toward the audience and 
her cheek resting on her hand. Her coverlet is pale blue, covered with 
lace if desired, and her hair streams over it and falls to the floor. The 
king and queen sleep in their chairs at foot and head of the bed, and the 
courtiers are nodding and drowsing in various positions about the stage, 
but not seated. Two or three children are asleep on the floor, leaning 
their heads against one another, but however amusing the positions and 
contortions of the attendants may be, the three royal figures must be seri¬ 
ously asleep. 

Tableau IV 

This tableau resembles the preceding one, save in the positions of the 
figures and the introduction of a new character, the prince, which may be 
taken either by a boy or a girl. The royal youth should be dark, as a 
contrast to the princess, and as richly clad as possible in a court costume 


50 


BRIAR ROSE 


of silk, velvet or satin, of pale yellow, rose color, or pale green, with a cap 
of the same color with floating feathers and a jeweled chain (gilt paper 
and beads) about his neck. Or he may wear a green velvet hunting cos¬ 
tume with high boots, a cap with one erect feather, and a hunting horn 
slung across his shoulders, or a bow and arrows. In either case, a gold 
chain as a symbol of royalty is to be worn. The tableau shows the moment 
after the kiss of awakening has been given. The prince at left center is 
starting back from the couch in joy and wonder; the princess, half-risen 
and leaning on her elbow, is gazing at him and holding out one hand as 
if to draw him nearer. The king is rubbing his eyes and stretching himself; 
the queen, caught in the act of yawning, is staring behind her hand at the 
stranger; the other figures are waking in various ways, many of which may 
be diverting, but not so much so as to obscure the magic romance of the 
scene. 

Tableau V (If desired) 

The curtain may rise for the last time, to the strains of Mendelssohn’s 
“Wedding March” (lighter and more fairy-like than that from “Lohen¬ 
grin”) and the wedding procession be shown, thus closing the entertain¬ 
ment with all the characters on the stage. This may be a moving picture. 
First the king and queen, arm in arm, cross the stage, followed by a suitable 
number of attendants, then the princess, escorted by the twelve fairies, in 
pairs, the benevolent one in the first couple, and next the audience; then 
come the prince and the remainder of the courtiers, and last of all, the 
wicked fairy, who limps, leaning on her cane and shaking her fist at the 
retreating procession. No costumes need be changed for this picture, save 
that of the prince, who should appear in white and gold with a coronet, to 
match the dress of the princess, who wears her first costume with the 
addition of a wedding veil. 





JACK AND THE BEAN STALK 


51 


CHARACTERS 


Jack 

Mother 

Farmer 

Giant 

Giantess 

Reader 

Servants 




JACK AND THE BEAN STALK 

Re-told in verse, in four scenes, for Pantomime or 

Shadow-picture 

SCENE I 

INTERIOR OF JACK’S COTTAGE 

There once was a widow, alarmingly poor, 

With a wolf ever howling away at her door,— 

A widow, whose idle young son, christened Jack, 

Would rather have gone without clothes to his back 
Than work for them, save for them, lift up his hand 
To earn a day’s wages, no matter how grand. 

The widow went fasting that Jack might be fed, 

But he had so heedless and careless a head 


53 








54 


JACK AND THE BEAN STALK 


That little he knew when the cupboard was bare, 

And little he recked of his mother’s despair. 

The times they grew harder, the poor woman sold 
Every stick she could turn into silver or gold, 

Until she had parted with all but her cow 
And to live without Mooley, she didn’t see how. 

“Oh, Jack!” wept the widow, “Oh, why can it be 
That idle you stand and our misery see?” 

And Jack, when he looked at his poor mother’s tears 
Began for his own self to feel a few fears. 

“I’ll take the cow, mother, to market,” he cried, 

“And get such a price that no longer you’ll chide.” 

(Here cow is led of, mooing.) 

The cow and her leader had scarce gone a mile, 

When a farmer leaped over a neighboring stile 
And said though the beast was too dear for his means 
He’d gladly give for her a hat full of beans! 

As soon as the offer was made it was taken, 

The cow and her halter were quickly forsaken, 

And, proud of his bargain, with triumph elated, 

Our hero returned where his old mother waited. 

With terror she saw what he held in his hat,— 

Had Mooley, poor Mooley, been bartered for that! 
And cuffing the lad with one hand, with the other 
She threw out of window the cause of the pother. 
Poor Jack stood astounded, a-scratching his head 
And hearing his mother just wish she were dead, 
When glancing without, what a sight met his eyes 
For the beans were a-growing and bound for the skies ! 
All twisted and woven, a ladder they made 
And Jack, who though heedless, was never afraid, 
Escaped from the cottage and wasting no time, 
Straight up into cloud-land he started to climb. 


r 


JACK AND THE BEAN STALK 


55 


SCENE II 

INTERIOR OF GIANT'S CASTLE 

A ramble, a scramble, a skip and a hop 
And swift our young hero went “over the top,” 

When, wonder of wonders, before him arose 
A castle of marble, as white as the snows! 

Jack made himself quickly as neat as a pin, 

He knocked at the door and a voice said, “Come in!” 

The voice was gigantic and so was the lady 

Who greeted his entrance with looks that were shady. 

“My husband,” she thundered, “is hunting for meat. 

Begone, or be sure that ’tis you he will eat!” 

“Em tired and hungry,” cried fearless young Jack, 

“Just give me a bite, till the giant comes back,” 

(Heavy tramping heard outside.) 

And quickly was set on the mountainous table 
A meal such as giant-folk swallow in fable. 

Jack drew up his chair and his mouth opened wide 
When terrible footsteps came tramping outside. 

“My husband!” the giantess cried in affright 
And all in a moment whisked Jack out of sight. 

(Hides Jack in chest.) 

“Fresh meat I can smell!” growled the brute as he entered, 
For ever on fresh meat his longings were centered, 

And wifie responded, “You smell nothing more 
Than your very good supper set there by the door.” 

The monster sat down and he swore and he grumbled 
While Jackie lay hid, with his arms and legs jumbled. 

The giant devoured as much as ten men, 

Then he called for his pipe and he called for his hen. 

The giantess brought them and hurried to bed, 

Assisted by boots that were thrown at her head. 


JACK AND THE BEAN STACK 


The hen was of gold and most skilfully made, 

For eggs that were golden she skilfully laid, 

And thrusting his head from the lid of his chest 
Jack saw her perform at the giant’s behest. 

The monster grew sleepy, he snored like a pig, 

And Jack, who for danger cared never a fig, 

Popped out from his hole, caught the hen in his flight 
And down the bean-ladder he vanished from sight. 

SCENE III 

INTERIOR OF GIANTS CASTLE 

The hen and her eggs filled the widow with joy, 

But Jack, who was ever a venturous boy, 

Not long at his ease and in safety would bide 
For he yearned once again in the castle to hide. 

His mother besought his content with the hen, 

But up the bean-ladder he clambered again. 

Arrived at the castle, he knocked at the door; 

The giantess answered him, just as before, 

But shelter and food she’d deny to a prince, 

Because of a lad she’d befriended long since, 

Who’d taken her bounty most freely and then 
Made off with the family’s favorite hen. 

“A rascal indeed!” cried our hero, “but sure 
For his fault you’ll never turn me from the door!” 
And moved by his pleading, his jest and his grin 
The soft-hearted giantess let him come in. 

He scarcely had supped when the giant was heard 
In monstrous ill-humour and, swift as a bird, 

Jack hid him away while the old giant roared 
For food and for drink to be spread on’the board. 

A fine sucking pig and a fresh roasted steer 
He gobbled and ended with two butts of beer. 


JACK AND THE BEAN STALK 


57 


He called for his money-bags when he had fed, 

Then cuffed his wife soundly and sent her to bed. 

I he bags all a-clinking with silver and gold, 

1 he giant’s great paws were too sleepy to hold 
And watching his time, when they dropped to the floor 
Jack clutched them and vanished the same as before. 

SCENE IV 

INTERIOR OF GIANT'S CASTLE 

The cottage re-built, and a new mooley-cow, 

Oh, ne’er was the widow so happy as now, 

And Jack, whom she’d called the most worthless of boys, 
Was now daily praised as the chief of her joys. 

Jack’s life was all honey, but when he passed by 
That magic bean-ladder that rose to the sky, 

A spring in his foot and an itch in his palm 
Both urged him, defying all prospect of harm, 

To knock once again at the old giant’s door, 

For though Jack had riches, he hungered for more. 

The third time ’twas almost as hard to get in 
As ’tis to get out when you’re tangled in sin, 

But fair looks and promises conquered the day 
And in the old chest he was soon hid away. 

The programme went on just the same as before; 

The greedy old giant was heard at the door; 

Again he declared he detected fresh meat; 

Again he sat down at his table to eat, 

And when he had finished, amusement he sought 
And growlingly ordered his harp to be brought. 

So far and no farther the bill was the same, 

But now a swift change found its way to the game. 


JACK AND THE BEAN STALK 


The harp was enchanted and ceased not to play 
Though Longlegs a-snoring and slumbering lay, 

But when Jacky bundled it under his arm 

Its strings shook and trembled and cried an alarm. 

(Imitation of trembling harp-strings on piano.) 

Jack ran like the lightning, so great was his fright, 

The giant awoke and pursued him in flight. 

Jack climbed down the bean-stalk and so did the giant, 
It shook with his tread, for the ladder was pliant. 

“An axe! mother, quickly!” cried Jack, “or I die!” 

And swiftly the widow the axe did supply. 

Whack! whack! on the bean-stalk the heavy blows fell; 
Crack! crack! went the giant and tumbled pell-mell. 

He pitched to the ground and he struck on his head 
And silence ensuing, they judged he was dead. 

A wretch was that giant, with so many foes 
That nobody mourned when he turned up his toes, 

And as for the giantess, great was her joy, 

For when he was absent, she’d none to annoy. 


The beans in a month or so withered away, 
But Jack and his mother were rooted to stay, 
And happy and gay and content with their lot, 
Forever they dwelt in that very same cot. 


CHARACTERS 


Jack 

Mother 

Farmer 

Servants, male and female 


Giant 

Giantess 

Reader 



JACK AND THE BEAN STALK 


59 


COSTUMES 

Jack —First seen in picturesque rags, tumbled hair, hat with torn brim 
and bare feet. Costume improves with each episode until in last scene he 
appears as a gallant in full court costume. 

Mother —Ragged dark skirt and waist in first scene, with torn gingham 
apron. White hair, cane and spectacles. Improves with each episode to 
grandeur at end, including powdered hair, jewels and brocade train, if 
desired. 

Farmer —Overalls or smock-frock and broad-brimmed straw hat. (Brim 
may be made of heavy brown paper.) 

Giant and Giantess —If these are stilt-walkers (and no other way to 
simulate giants seems possible) they must be provided, one with long 
trousers reaching the floor, to cover stilts, and the other with long skirt. 
These may be improvised from curtains, portieres, bedspreads or sheets, 
carefully basted together so as not to injure the fabrics. Giant should have 
fierce inoustachios, slouch hat and red sash or belt with large wooden 
pistol thrust in one side and dagger at other. Small sheet, draped over 
shoulders and held down by sash will serve for Russian blouse. 

Giantess wears large round white cap (crepe paper), (sweeping-cap 
style) with flapping ruffles, and a white apron. Brandishes immense roll¬ 
ing-pin or cooking-spoon when she opens door. 

Servants —Men-servants (as many as desired) attending Jack and 
dressed, all alike, in fancy costumes of gay crepe paper. 

Maids, with caps and aprons, dressed as desired, but all alike. 

Reader, may wear ordinary costume, or dress as fairy godmother, if 
desired. 

PROPERTIES 

Basket of beans for Farmer. 

Cow —Saw-horse with dark carriage robe or blanket thrown over it, 
cow’s head and horns cut from wood or pasteboard painted and nailed to 
one end, and tail, stiff and rampant, to the other. 

ladder —Rounds covered with green paper and green paper leaves fas¬ 
tened here and there. Red flowers, like scarlet-runner, if desired. 

Large loaf of Bread —Pasteboard or clay, painted. 

Toilet Pitcher. 

Large Pipe —Cut from wood. 

Hen _Moulded of clay and gilded or covered with gilt paper. 

Platter of Meat —Large tray will serve, with roast (moulded of clay) 
and some slices cut. 

Bags of Money —Coins to be cut from tin cans. 

Harp _(See Encyclopedia). Frame of wood or several thicknesses of 

pasteboard glued together. Must be of small size. 


6o 


JACK AND THE BEAN STALK 


Large Rolling-pin or Cooking-spoon. 

Axe. 

Stuffed Figure —(For Giant’s fall.) 

SCENE I 

INTERIOR OF JACK'S COTTAGE 

(There are but two scenes in pantomime—interior of Jack’s cottage and 
of Giant’s Castle, and as one must serve for the other, stage should be set 
with screens or hung with curtains of dull color, so as to pass almost 
unnoticed. Window (practicable) at back and door right front. Ordinary 
chair and table needed for cottage and same, of gigantic size, for castle. 
Large chest or box also needed. Giant’s table and chair may be made 
suitable height by setting on boxes or draping with cambric.) 

Curtain rises and discloses Widow seated, face in handkerchief and 
sobbing. Table with work beside her.* Jack enters, Line 7, small whip 
in hand, dances jig or double shuffle at door, and frolics around stage snap¬ 
ping whip for 8 lines, glancing now and then at mother. Line 15 Jack 
stands by mother, who is weeping and wringing her hands, and listens to 
her appeal. Nods head, pats her shoulder and points off stage, where cow 
is heard mooing. Mother assents, Jack gives her rough hug, runs off stage, 
using door. 

(Curtain lowered a moment here to remove mother, chair and table.) 

Curtain rises and Jack enters right front (Line 21), pulling cow by 
rope about neck. Farmer enters left, basket on arm. Stops Jack, admires 
cow, offers to buy, shows beans, which are/ accepted, and fills Jack’s hat. 
Cow changes hands, Farmer leads her off one side stage, Jack hastens off 
other. 

(No change of scene or curtain.) 

Mother shortly enters, lame and decrepit, with broom, and begins to 
sweep, when Jack enters gaily. Widow holds out hand as if questioning. 
Jack nods, points off stage and shows beans. Widow horror-stricken; 
snatches hat, cuffs Jack, throws beans out of window. Leaves stage sob¬ 
bing, while Jack scratches head and looks puzzled. At Line 35 glances 
out window, throws up hands, opens mouth in amazement and runs off 
stage. 

(Curtain lowered long enough to bring in and place ladder.) 

Curtain raised to show Jack standing at foot of ladder, gazing upward. 
Measures distance with eye, tries rounds, looks about as if in fear of 
mother, rubs hands together and begins to climb as curtain falls. 


* Reader begins after time has been given to note the first scene and the 
Widow’s grief. 


JACK AND THE BEAN STALK 


61 


SCENE II 

INTERIOR OF GIANT S CASTLE 

(Same interior, with addition of wooden chest and giant’s chair and 
table. Bread and toilet-pitcher on table.) 

Curtain rises, showing Giantess using rolling-pin, or stirring something 
in wash-bowl with long wooden spoon. (Reader begins.) 

Line 6 Jack knocks. (Reader here roars “Come in!” in gigantic voice.) 
Parley between Jack and Giantess. At Line 11 Jack enters, Giantess 
waves hand to table and Jack climbs up in chair. Reaches out hand for 
food when (Line 16) heavy tramp heard outside, with thunderous chords 
on piano. Reader pauses here to give time for Giantess to wring hands 
and shiver with fright, Jack to take alarm, climb down from chair and 
hide in chest, which Giantess opens. (Piano continues through this epi¬ 
sode.) Line 19, Giant enters from wings, as he cannot use door. Action 
in next 10 lines evident. Line 27 Giantess brings pipe and hen and hurries 
off stage. Lines 29, 30, 31, 32, 33 occupied with Giant’s smoking and 
admiring hen, Jack meantime poking head out of chest and watching. 
Reader pauses after Line 33 to allow snoring to be heard, while Jack 
creeps out of chest. Last tw^o lines of scene Jack tiptoes to table, clutches 
hen and runs from stage. 

SCENE III 

EXTERIOR OF JACK'S COTTAGE 

Curtain rises to show bean-ladder in place, with more leaves and flowers, 
if possible. Jack, with shoes, smooth hair and better dress at foot of ladder, 
hands on uprights. Mother, also improved in dress, with w^hite apron and 
cap, by his side, begging him not to climb up. Jack shakes head resolutely 
and begins to climb. Mother throws apron over head and begins sobbing 
as curtain falls. (Reader begins here.) Curtain rises to show^ interior of 
castle again. First 6 lines, business of Giantess again at Table. Line 7, 
Jack knocks. Next 9 lines devoted to Giantess’s answer and parley with 
Jack. Giantess determined, but Jack edges in a little more wfith each 
entreaty, finally enters and climbs up chair. Line 17 tramping again heard, 
w T ith piano heavier than before. Lines 19, 20, 21 Giant enters, pounds on 
table for food, which wife brings, and he gobbles through Line 22. Line 
23 he calls for money-bags, which wfife brings, dragging as if heavy. Giant 
pretends to cuff her and waves her off stage. 

Reader pauses after Line 24 w T hile Giant opens bags and chinks money 
to suitable piano accompaniment, Jack peeping from chest meantime. Giant 
grows sleepy, drops bags. 

Reader begins again and last 4 lines devoted to Jack’s climbing out of 
chest, clutching bags and dragging them away. 


6 2 


JACK AND THE BEAN STALK 


SCENE IV 
jack's cottage 

Curtain rises with bean-ladder in position, as before. Jack, in resplen¬ 
dent costume, lace handkerchief and cocked hat, enters right, followed by 
lackeys and stands at foot of ladder, looking wistfully upward. Mother, 
equally grand, enters left, followed by maids. (If wheel-chair is to be had, 
mother may be wheeled in.) Obsequious attention by both groups of 
servants. First 10 lines devoted to entrances and Jack’s attempting to 
climb ladder. Curtain falls with tableau, all servants on knees, holding 
up imploring hands, mother and some maids weeping and Jack, beginning 
to climb. 

Reader pauses for curtain and begins again at Line 11, when it again 
rises for interior Giant’s Castle. Jack knocks at Line 11, and pantomime 
of begging entrance, firm refusal, attempted closing door and final slip¬ 
ping in of Jack occupies next 8 lines. At Line 20 Giant orders harp, 
which wife brings, sets on table and then disappears as usual. At Line 23 
harp begins to play (piano here) and plays through next 6 lines, while Jack 
seizes it and runs from stage, pursued by Giant. 

(Curtain after Line 28) 

Curtain rises again at Line 29, showing entire group at foot of ladder, 
looking upward. One servant holds harp. Action plainly indicated to 
end. (Stuffed figure of Giant, any scare-crow will do, concealed at top of 
ladder to be thrown down at right moment.) 

Jack turns to mother at Line 31, as if asking for axe. She turns to 
servant, who runs off and returns with same. Jack begins to strike at 
ladder and down tumbles the Giant. All start back in horror, but seeing 
no movement draw near to examine. Finding Giant dead, drag him center 
stage, make a ring and dance around him to merry music. Curtain falls 
as they dance. 




WHAT HAPPENED TO THE TARTS 


CHARACTERS 

King Greatheart 

Queen Sweetheart 

Ladies and Gentlemen in Waiting 

Knave Blackheart 

Reader 

Courtiers and Servants 


64 



WHAT HAPPENED TO THE TARTS 

A Drama in the Heart Dynasty in Six Tableaux, 

closing with a Dance 

Reader (seated at one side of the stage in high-backed) 
medieval chair, rises). 

King Greatheart was a sovereign of valor and renown; 

Queen Sweetheart was as grand a dame as ever wore a crown; 
Her servants swarmed about the court like ants about a hill, 

But still a housewife she remained and did her cooking still, 
One summer morn, ’mid idle chat, King Greatheart chanced to 
say, 

A dish of tarts he’d relish well for supper on that day. 

The beauteous queen, beloved by all, the model of a wife, 

Had but to hear and then obey, for duty was her life. 

65 

















66 


WHAT HAPPENED TO THE TARTS 


She called the butler, called the maids, called footmen two and 
three, 

She ordered cupboards all unlocked and gave the knave the key. 
“Set all within the summer-house that is for tarts required; 

I’ll do my mixing there to-day, quite from the court retired.” 
Thus spake the queen, and quick were brought the butter cut in 
dice, 

The water, flour, jelly, salt, the rolling-pin, the ice. 

“Where is the cake-board, careless lad?” she asked the Knave 
of Hearts; 

And straight the pert young sprig replied, “Use marble, Queen 
for tarts!” 

“I’ll marble thee!” the sov’reign cried, and with the rolling-pin, 
She made a marble-like effect about his saucy chin. 

With tears and sobs he fled away, a-swearing in his pain, 

Or soon or late he’d have revenge on Sweetheart and her train. 
But little cared the lovely queen for Blackheart, wretched knave! 
For all her mind was set on tarts for Greatheart, good and brave. 
She sifted, salted, mixed, and rolled, she shaped with touches 
light, 

And soon the tarts were baked and filled, a truly beauteous sight. 
She set them on a dainty dish and left them there to air, 

The while her maidens brought her robes and dressed her shin¬ 
ing hair. 

TABLEAU I 

Queen Sweetheart Making the Tarts 


Meantime, the knave had hid away within that garden sweet, 
And watched the cook until her task was perfect and complete. 
When all was still he ventured forth, with sly and stealthy mien. 
And crept about the summer-house where late had stood the 
queen. 



WHAT HAPPENED TO THE TARTS 6 7 

He spied the tarts, all red and white, upon their regal bed, 

And there and then a horrid thought beset his naughty head! 
He'd steal the tarts to spite the queen and thus to spite the king; 
1 hey’d find to shame the Knave of Hearts was not so slight a 
thing! 

He seized the prize and wrapped it close within his ample cape, 
A brilliant robe that covered him from knavish knee to nape; 
He sauntered forth with lordly air, believing none could see, 
And none could dream that Blackheart bold a paltry thief could 
be. 

Without the garden, swift and still as any velvet mouse, 

He fled by lane and byway dark until he gained his house. 
Arrived triumphant, straight he hid the precious tarts away, 
Resolved it never should be known wherein his treasure lay. 

TABLEAU II 

Knave Blackheart Stealing the Tarts 


The summer's day, in summer’s way, declined unto its close, 

Queen Sweetheart left her tiring-room as lovely as the rose; 

She sought the banquet-hall wherein King Greatheart sat in state, 

And took her place in robe and crown, all modest and sedate. 

The meal progressed, the servants brought each regal dish and 
rare; 

King Greatheart ate and relished all, nor gave a thought to care. 

Sudden a servant hurried in, and, ghastly pale with fright, 

Cried: “Madam! Queen! Alas, the tarts! Lo, they have van¬ 
ished quite!” 

“Ah, woe the day!” the king exclaimed; “Ah, woe the day!” the 
queen, 

“My morning’s work has sped away as it had never been! 



68 


WHAT HAPPENED TO THE TARTS 


My Liege,” quoth she, “let vengeance fall upon the petty thief!” 
And as the monarch grasped his sword, she sought in tears relief. 

TABLEAU III 
The Interrupted Supper 


While yet the courtiers stood agape, a lackey came apace, 

And told how he had lately seen young Blackheart, pale of face, 

Run down a lane with something hid beneath his knavish arm, 

A treasure, sure, or why should he thus guard it safe from harm? 

“’T was Blackheart, then, who stole the tarts!” thus ran the 
murmur ’round. 

“A murrain on him!” cried the queen, “he ’s earned a beating 
sound!” 

Forth from the hall King Greatheart strode, and soon at Black- 

heart’s door 

He thundered in a regal tone that threat and menace bore. 

“Come forth, thou Blackheart, naughty knave! and quickly fetch 
the tarts; 

Thy deed is known, thy doom is sealed, in spite of all thine arts!” 

The door was forced, the knave appeared and then and there 
did he 

Receive a punishment most fit for blackest treachery. 

TABLEAU IV 
The Thief Discovered 


Still at the table sat the queen, surrounded by her train; 

She would not eat, she would not drink, persuasion was in vain. 
Sudden a stir was heard without, and then, with vesture torn, 
Appeared the knave, a sorry sight, all tattered and forlorn. 




WHAT HAPPENED TO THE TARTS 69 

He bore the tarts, all red and white; he sank upon his knee 
And vowed repentance long and late, if he might pardoned be. 
Queen Sweetheart faltered; Greatheart cried, with proud and 
lofty mien, 

“Serve up the tarts, forgive the knave; be every inch a queen!” 
The lady smiled; she took the tarts; she raised the weeping 
knave; 

She ordered music; to her lord her lily hand she gave. 

The courtiers followed m her train, exultant, one and all 
That dance of tarts was ne’er forgot in cottage or in hall l 

TABLEAU V 
The Knave Before the Queen 

TABLEAU VI 
The Dance of Tarts 


CHARACTERS 

King Greatheart Knave Blackheart 

Queen Sweetheart Reader 

Ladies and Gentlemen in Waiting, Courtiers and Servants, as many as 
desired. 


COSTUMES 

These should be copied as nearly as possible from the suit of hearts in a 
pack of cards. If an elaborate presentation is desired, the dresses may be 
made of light-weight satin, satine, Turkey-red cotton, cambric, Canton 
flannel, etc. Otherwise, heavy sheets of brown paper may form the foun¬ 
dation of the dresses, the colors being laid on with water-colors or pasted 
on in strips and patterns of red, black, and yellow glazed paper. If of 
brown paper, they should be cut alike back and front, no curved lines 



7 ° 


WHAT HAPPENED TO THE TARTS 


being used, but straight lines and angles. If reinforced with extra strips 
along the edges, they will stand out like pasteboard. There is to be no full¬ 
ness in the costumes, the object being to make the actors look like the cards 
themselves. The king, queen, ladies, and maids of the court wear robes 
to the floor; the knave, lords, and lackeys, to the knee only, with knee- 
breeches, long stockings, and slippers or pumps. The eyebrows of all 
should be heavily marked, eyes shadowed and lips reddened, to resemble 
cards. 

King Greatheart —Costume as per card; bands of ermine (Canton flan¬ 
nel or white muslin, spotted with charcoal) over shoulders, and sword in 
hand. (See picture.) King has long hair and beard, but no mustache. 
The wig and beard may be made of cotton yarn from a mop, or of curled 
paper. Crown of cardboard covered with gilt paper, with black stencil- 
work around it and red and black band where it fits the head. 

Queen Sweetheart —Costume as per card. Black hair loose on shoulders, 
parted in middle and drawn down each side nearly to eyebrows. Crown 
like king’s, but smaller, set on a black, hoodlike drapery which falls over 
hair. 

Knave Blackheart —Costume as per card. Yellow hair, slight mustache. 
Red cap (see card) stenciled in Greek pattern (white), and black head- 
band. No weapon need be made for Knave, as he has no opportunity to 
hold it. 

Courtiers —The courtiers (lords and ladies) should be the Ace, Deuce, 
Three and Four Spots. Their robes, knee length or ankle length, accord¬ 
ing to sex, should have a little ornamentation, black and yellow, about neck 
and sleeves, and the proper number of red hearts pasted on their breasts. 
The men have red caps, like Knave’s, but without ornament, and carry 
battle-axes, if desired; the women wear red draperies (crepe paper) in 
Italian peasant-fashion over loose hair. 

Servants —The servants are the remaining cards in the pack. Brown- 
paper robes, with red bands at neck and sleeves and the proper number of 
red hearts. Tight-fitting skull-caps of red crepe paper. 

Reader —This part may be taken by a person in ordinary evening dress, 
by one of the lords or ladies-in-waiting in costume, as he or she is to appear 
later, or by a resplendent figure, on which great art may be lavished, 
arrayed as the Queen of Diamonds. Reader need not leave stage during 
tableaux, but be seated, in ornamental high-backed chair, rising for his or 
her next part. An ordinary arm-chair can be given a medieval effect by 
inserting a high back made of a board, covered with stenciled material or 
bold-figured wall-paper. 


WHAT HAPPENED TO THE TARTS 


7i 


Tableau I 

QUEEN SWEETHEART MAKING TARTS 

A summer-house in center of stage is indicated for this and the following 
tableau. Queen Sweetheart stands at table in center of summer-house 
with materials for tarts at hand, and, as curtain rises, is disclosed rolling 
out her pastry. The Knave of Hearts is half seen in background, stealthily 
peeping out from behind trees. 

Tableau II 

BLACKHEART STEALING THE TARTS 

Summer-house and table, with tarts on platter, basket, or tray. Black- 
heart discovered as curtain rises, leaning over table on tiptoe, and grasping 
the dish. His head is turned over his shoulder toward the audience, with 
stealthy look, and one hand and arm are raised as if listening. 

Tableau III 

THE INTERRUPTED SUPPER 

The stage is set as a banquet-hall, and may be as grand as time and the 
resources of the actors will permit. It may be quite unornamented, how¬ 
ever, and backed by screens or curtains, for interest will be centered on the 
table where the monarchs sit. This may be set off stage and brought in 
during the interlude and should have as much silver on it as parents will 
lend, or the actors, beforehand, will mould * and paint or cover with gold 
and silver paper. The lights are lowered, as it is evening, and candles are 
on the table. The moment chosen for the tableau is when the servant has 
rushed in to announce the loss of the tarts and is standing in doorway. 
His face should be well floured before entrance, to show terror. Queen 
is weeping, head in hands, two court ladies kneeling beside hqr, one offering 
handkerchief, the other smelling salts. Courtiers and lackeys stand about 
the stage in various attitudes of dismay. A servant is holding a dish to 
the king, but casts his eyes upward in horror. The king is starting up from 
his seat and brandishing his sword. 


* Clay or old newspapers soaked into soft pulp will make all the smaller 
dishes, time being allowed to mould and dry before coloring. 



72 


WHAT HAPPENED TO THE TARTS 


Tableau IV 

THE THIEF DISCOVERED 

A door center back of stage is needed for this tableau; but if this is want¬ 
ing, screens, or even sheets or curtains hung at the back, may be pulled 
apart and held by courtiers, as if they had just been opened for the exit of 
the knave. The king holds him by the collar, and is raising his sword as 
if to beat him. Knave hangs as limp as possible, knees bent, arms pendent, 
half dead with terror. A number of courtiers in martial attitudes, with 
weapons drawn, stand at back of king to guard him. Servants may be 
present also, if stage is large enough, and may seem to light the scene by 
torches which they hold aloft. 


Tableau V 

THE KNAVE BEFORE THE QUEEN 

Scene same as before. Curtain rises on knave of hearts kneeling at feet 
of queen, holding up the dish of tarts. His face is pale and his clothing 
torn. The king stands behind him, with frowning face, leaning on his 
sword. Courtiers, maids, and men look on in interested attitudes. Swords 
are sheathed, and servants have laid aside torches. 

After a few moments have been given to look at the tableau, it becomes 
a moving picture. The queen rises, motions the knave to rise also, takes 
the platter with a gracious smile and hands it to a servant, who sets it on 
the table and waves his hand as if to invisible, orchestra. Music begins. 
Sweetheart gives her hand to the king, and the servants lift the table to 
back of the stage. Each courtier and servant finds a partner and a stately 
dance is begun, if the performers can manage the minuet. Knave stands 
with hanging head, at left, until one of the maids draws near, pats him on 
shoulder coquettishly, and draws him into the dance. 

If the minuet is too difficult, begin with Grand March and end with 
“Sicilian Circle,” or something equally simple, which will engage all the 
performers at once, ringing down the curtain while the dance is still 
going on. 


ACCESSORIES 

The summer-house may be made with four uprights and a skeleton roof, 
covered with boughs or thatched with straw or hay. If either of the latter 
materials is used, it should be made into long bundles and fastened down 
with cords. Paper vines may run up the posts and gay hollyhocks grow 
on each side of the front. If this is too elaborate, the four uprights may 
be connected by a few cross-pieces and roofed with a large Japanese um¬ 
brella. Even more simple, but quite effective, would be a large Japanese 


WHAT HAPPENED TO THE TARTS 


73 

umbrella set in a tall standard. Two or three fir-trees are placed in Christ¬ 
mas-tree stands near the summer-house. 

If the supper-table can be set on a raised platform at the back of the 
stage, it will be more effective. The hanging lights may be made of barrel- 
hoops covered with gilded asbestos paper to which are wired tin cans 
(gilded) to hold the candles. 

The torches for the fouith tableau may be made of poles with bunches of 
orange paper cut in fringes to represent flames, fastened to one end. 





THE GIANT’S SHOE 


75 


CHARACTERS 


Mother Goose 
• The Widow 
Children 


76 


THE GIANT’S SHOE 

An Old Tale, Amplified and Corrected 
With Three Tableaux * 

PART I 

There once was a widow,—I will not say when, 

Lest I be accused of a lapse of the pen,— 

Who lived in a country not far from a giant, 

Whose manners were good and whose temper was pliant; 

A monstrous great fellow, his head in the sky, 

The smoke from her chimney scarce reached to his thigh; 

But different in size as they happened to be, 

Most excellent friends were the widow and he. 

* These verses are to be given from stage, in front of curtain, by a person 
in Mother Goose costume. She bows and retires at end of each section of 
story when curtain rises and tableau is shown. 




78 


THE GIANT’S SHOE 


The lady had children, a wonderful lot, 

That scrambled like ants round her rude little cot. 
The giant was childless, his spouse had departed 
Ere hardly in wedlock her journey was started, 

So freely he gave to his neighbour advice 
On training her children in ways that were nice. 

He’d seat his small friend in the palm of his hand 
And whisper (his voice was as loud as a band), 

His counsel on everything—fire and food, 
Deportment and schooling—whatever the brood 
(So small he could hardly discern them,) required; 
And all, in addition, their mother desired. 

’T is true, though he softened his voice, that one day 
He whispered so loud that he blew her away; 

But, stretching his fingers and bending his back, 

He rescued her out of a terrible crack 
That gaped in a mountain far over the sea, 

And threatened her grave and her gravestone to be. 

TABLEAU I 
The Widow and Her Brood 


PART II 

One day when the giant was walking about, 

(’T was fortunate widow and children were out!) 

He stepped on the cottage and crushed it so flat 
It looked like a pancake, or else like a mat. 

“How clumsy!’’ he murmured. “Now who would have thought 
My delicate foot such a thing could have wrought?’’ 

Then, making a speaking-tube out of his hand, 

He roared to the family, where, on the strand, 

They gathered fresh mussels and oysters for tea, 

And told them that homeless they happened to be. 



THE GIANT’S SHOE 


79 


Full loud was the wailing, and fast flowed the tears, 
Till, “Hold!” cried the giant, a-stopping his ears; 
“I’ll swallow ye bodily, thick ones and thin, 

Unless ye give over this terrible din!” 

The children grew silent; but mother was brave, 
And, lifting her skirts from an incoming wave, 

She shook her small fist in the old giant’s face 
And told him, right bravely, he’d suffer disgrace 
If suitable shelter he did not provide, 

For his was the fault, and his wrath she defied. 

TABLEAU II 

The JVidow Defying the Giant 


PART III 

The giant agreed it was careless and rude 
To step on the roof of his friend and her brood; 

But timber he had not, nor concrete, nor stone,— 

Not even a brick-yard he happened to own; 

So, how could he build them a neat little house, 

With nothing to make e’en a trap for a mouse? 

He looked toward the heavens and seemed all perplexed; 
He gazed on the ground, very troubled and vexed, 

When, sudden, his eye met the toe of his shoe, 

And then, in a moment, he knew what to do. 

“Dear Madam!” he bellowed; “my foot shall go bare 
Ere ever your family waste in despair.” 

He kicked off his shoe, and, behold, a fine dwelling,— 

A house for a queen, in convenience excelling. 

With one of his saucers he made it a roof, 

’T was painted with roses, but quite weatherproof. 



8o 


THE GIANT’S SHOE 


The tongue of the shoe made a drawbridge to lower; 
The eyelets were windows and lighted the bower. 

“Ho! Ho!” laughed the giant; “I’ve done a good deed 
And helped a good friend in her hour of need.” 

• ••••• • 

The widow moved in, and, before day was sped, 

She’d served all her children with broth and with bread. 
The old story says that sound whippings they got, 

But I’m in position to say they did not! 

Let History answer for many such slips: 

Not Whippings she gave them, but “Strawberry Whips!” 

TABLEAU III 

The Widow Serving Strawberry Whips 


CHARACTERS 

Mother Goose The Widow 

Children, in variety. 

COSTUMES 

Mother Goose —Skirt of any plain color save red, with white stockings 
and low shoes with large buckles (pasteboard, covered w T ith silver paper). 
Panniers of striped material. Plain waist with long sleeves and white 
fichu. Full, round, white cap (mob-cap), edged with ruffle and black 
ribbon around it. Crutch stick under arm. Bent shoulders, wrinkled face, 
and spectacles. 

Widow —This character must be picturesque and striking in appear¬ 
ance. She has a bright dress, bare arms, streaming hair (preferably dark), 
and a red handkerchief bound about the head, gypsy fashion, with one long, 
hanging end. She may wear a peasant dress, if desired, of black bodice, 
white chemisette, and short red skirt. 

Children —These should be many, and of all sizes. The widow is poor, 
and some of the children may be ragged, and all barefooted. Those whose 



THE GIANT’S SHOE 


81 


clothes are whole must be very simply dressed. The boys may have short 
trousers held up by wide crepe paper suspenders of different colors, over 
white shirts; and the girls should have varicolored paper pinafores, fastened 
behind. Some have torn straw hats, and some paper sunbonnets, some paper 
caps, and some folded cocked hats of paper. 


TABLEAU I 

THE WIDOW AND HER BROOD 

Curtain rises and discloses Widow seated, center stage, superintending 
morning toilet of children. She holds a baby (large doll) in her lap, 
partly dressed, and is fastening the pinafore of a small child who stands at 
her side. All the other children on the stage are either dressing or helping 
others to dress,—brushing and braiding hair, adjusting suspenders, washing 
faces at tin basins, etc. Some are holding out to older ones garments they 
cannot put on; others, fully dressed, are playing in corners. 

TABLEAU II 

THE WIDOW DEFYING THE GIANT 

At center back of stage, chairs or stools piled together and covered with 
some dark drapery must be provided, to simulate a rock or hill, on which 
the widow stands, and looking up toward giant, shakes her fist in defiance. 
About her the children are grouped in every attitude of grief and woe, 
some of the larger ones trying to console those smaller; some sitting on 
ground, heads bowed in laps; some back to the audience, leaning against 
walls, one arm over eyes. 


TABLEAU III 

THE WIDOW SERVING STRAWBERRY WHIPS 

In the school where this little entertainment was first given, the janitor, 
a real “handy man,” made a light wooden frame for the shoe, enlarging 
the ordinary measurements to the desired size. This frame the teachers 
covered with brown burlap, making it indeed “a fine dwelling.” If this 
idea can be carried out, the shoe must occupy the prominent place on the 
stage, center back, the churn being set on the right; if too difficult, a drop 
curtain with shoe painted on it, may be used. Failing these two ideas, 
carry out final tableau as follows. 

An old-fashioned churn is seen, center stage, labelled in large letters: 
WHIP CHURN. If no churn is to be had, one may be simulated with 


82 


THE GIANT’S SHOE 


a piece of roofing-paper, or stiff carpet-lining, rolled into shape, painted 
white and lettered in black, a broom-handle serving as dasher. 

The widow, with an immense ladle, is serving whips to children who 
swarm about her with spoons and saucers. Some are already served and 
eaing, either standing or sitting on floor; but most are holding out dishes 
and clamoring for the dainty. 






THE LAUNDRY-MAID’S REVENGE 


S3 


CHARACTERS 
Mother Goose (The Reader) 

King Nobody, Queen Nonesuch, Maid No-One, of Castle Nonsense in the 
Kingdom of Nowhere 
Blackbird 
Bards 
Courtiers 


84 



THE LAUNDRY-MAID’S REVENGE 

An Old Tale, Amplified and Corrected 
With Three Sets of Tableaux * 

PART I 

There’s a very old tale, in very old verse 
And fashion that’s quite antiquated, 

And though it is simple in language, and terse, 

Its meaning is often debated. 

It tells of a King and a Queen and a Maid, 

Of wonderful treasures of Money, 

Of meals in a Parlor, all daintily laid, 


* A Reader, dressed as Mother Goose, appears before the curtain and 
gives the lines, retiring at close of each part. 

85 




















86 


THE LAUNDRY-MAID’S REVENGE 


Of feasting on Bread and on Honey. 

It tells of a Blackbird, an infamous fowl, 

A murderous fellow in feathers, 

Whose deeds were as dark as the bandits’ of old, 
In their doublets and Cordovan leathers. 

The Maid was a laundry-maid, comely and neat, 
A-hanging out clothes in a garden, 

A spot esteemed private, a shelter complete, 

With never a guard or a warden. 

The lass,—such a tragedy never was heard,— 
The while an old ballad she lilted, 

Did lose by the nip of this cruel Blackbird, 

Her nose, all so prettily tilted! 


Now all give attention! The curtain will rise, 

And just as in life you will meet them— 

The Maid and the Blackbird, the King and the Queen, 
Pray, heartily, cordially greet them! 

(Reader retires, and curtain rises for tableaux.) 

Tableaux Set I 


PART II 

The tale that I mentioned of verses has two, 

But Time, who in tricks is prolific, 

Has somehow inverted them,—numbered them new, 
And mixed them in manner terrific. 





THE LAUNDRY-MAID’S REVENGE 87 

I is clear, when you read them and give them your mind, 

I he last as the first must be reckoned; 

And equally clear does it follow, you find, 

That verse number one is the second. 

(■Reader here gives original verses.) 

Sing a song o’ sixpence, 

A pocket full of rye, 

Four and twenty blackbirds 
Baked in a pie. 

When the pie was opened, 

The birds began to sing. 

Wasn’t that a dainty dish 
To set before the king? 

The king was in his counting-house, 

Counting out his money; 

The queen was in the parlor, 

Eating bread and honey; 

The maid was in the garden, 

Hanging out the clo’es; 

There came a little blackbird 
And nipped off her nose. 

••••••# 

Now follows the tale, as ’t was ever, I ween, 

In the Kingdom of Nowhere related; 

The King was “King Nobody,” “Nonesuch,” the Queen; 

The Maid was named “No-one,” ’t is stated. 

The Castle was “Nonsense,” a marvellous place, 

By duteous subjects erected; 

Of sill or foundation it hadn’t a trace,— 

The royalties never suspected! 

One day, it is said, that the King and the Queen 
Fell out on a trivial matter; 

She never was blessed with a temper serene, 

And he was as mad as a hatter. 


88 


THE LAUNDRY-MAID’S REVENGE 


Away to his Counting-house, swiftly he sped 
And set him to count out his Money; 

Away ran Her Majesty, tossing her head, 

And ordered a luncheon of Honey. 

The Maid,—it has never been clearly explained 
What she had to do with the story; 

But certain she never from duty refrained, 

And her’s is the chief of the glory. 

As soon as her Mistress had sat down to eat, 
Away with the washing she scampered; 

Away from the suds and the steam and the heat, 
To hang out her linen, unhampered. 

But, under the bushes, just out of her sight, 

The Blackbird was wickedly lurking, 

And plotting her evil, with all of his might, 

The while she was busily working. 

With a flirt of his feathers he swiftly arose, 

As if but a nest he was robbing; 

Then speedily nipped off the pretty Maid’s nose, 
And left her all sighing and sobbing. 

Tableaux Set II 


PART III 

Maid No-one was speedily laid in her bed, 

And royal physicians were bidden 
To bring a new Nose that would fit to her head, 
And all imperfections be hidden. 

King Nobody paid for the Nose in a trice; 

Queen Nonesuch agreed ’t was becoming; 

And No-one, equipped with this modern device, 
Went off to her laundry a-humming. 



THE LAUNDRY-MAID’S REVENGE 


89 


Yet hard was her heart ’gainst the wicked Blackbird; 
Revenge she was steadily plotting: 

To him and his tribe she was oft overheard 
A punishment bitter allotting. 

With Rye in her pocket—a favourite grain 
For Blackbirds, whenever in season,— 

At night and at morning she scoured the plain, 

A huntress, with rhyme and with reason. 

She caught the birds, slaughtered them, fashioned a pie, 
Imbedded the wretches within it, 

Invited the Court and the royalties high, 

Resolved her revenge, to begin it. 

The Court was assembled—a wonderful sight; 

The King and the Queen sat at table; 

The Pie was before them, all gaily bedight 
And filled with its occupants sable. 

The story relates that when sank the bold King 
His knife in the heart of the pasty, 

The Birds in the middle began for to sing 
In tone and in manner most tasty. 

Now, such a report is of course very wrong, 

And is likely to mystify childhood: 

’T was the Bards, not the Birds, that began on a song, 
For the Birds only sing in the wildwood. 

The Bards,—every king has a dozen or so,— 

In flowing white raiment were present; 

They played on their lyres, full loud and full low, 

And w r arbled in tones that were pleasant. 

The Song was regarding a Sixpence, ’t is said, 

For the King was a bit of a miser; 

But over the pasty he bended his head, 

And never was any the wiser. 

Her foot on the Blackbird, the Laundry-maid stood, 

An image of Victory seeming; 


90 


THE LAUNDRY-MAID’S REVENGE 


She’d had her Revenge, as she said that she would, 
And now of its sweetness was dreaming. 

• ••••* 

Their Majesties kept till the end of her days 
This Maid, never known to deceive ’em; 

And, as there’s naught else we can say in their praise, 
A-feasting on Blackbirds we’ll leave ’em. 

Tableau III 


CHARACTERS 
Mother Goose (The Reader) 

King Nobody, Queen Nonesuch, Maid No-One, of Castle Nonsense in 
the Kingdom of Nowhere. 

Blackbird Bards Courtiers, in variety. 

COSTUMES 

Mother- Goose (The Reader)—Skirt of any plain color, with white 
stockings and low shoes with large buckles. (Pasteboard, covered with 
silver paper). Panniers of striped material. Plain waist with long sleeves 
and white fichu. Full, round, white cap (mob-cap), edged with ruffle, 
held in by black ribbon. Crutch-stick under arm. 

Bent shoulders, wrinkled face, and spectacles. 

King Nobody, Queen Nonesuch, Courtiers —As this drama is without 
definite date or place of action, the King, Queen, and Courtiers may dress 
as pleases their fancy, so long as they are sufficiently gorgeous and regal. 

The King must have a crown and sceptre, and a long train from shoul¬ 
ders, edged with ermine. This may be made from a piano-cover, heavy 
curtain, or portiere, the ermine being a border of white muslin (or cam¬ 
bric) with charcoal spots. 

The Queen has a smaller crown, trailing robes, many jewels, and carries 
a cane as tall as herself, covered with gold paper. 

The Courtiers, as many as desired, may exercise their own ingenuity 
as to costumes, and “dress themselves up to the nines,” or even the tens, 
if they have the wherewithal. 

Maid No-One —This character wears a bright dress turned up over 
white petticoat, a jaunty cap and apron, and carries a basket of clothes’-pins. 



THE LAUNDRY-MAID’S REVENGE 


9i 


Blackbird —This murderous fowl wears a tight-fitting sleeping-suit of 
any black material, which covers him to his toes and his wrists, and a 
black hood covering his forehead and fastened' under his chin. A second 
pair of full, wide, draped sleeves is either gathered or plaited to his shoul¬ 
ders to simulate wings, and comes to the ends of his fingers. An elastic is 
sewed to the lower edge of the upper half of each sleeve, to hold them to 
the arm in flying, an art which the Blackbird must practice with diligence. 

Bards —The Bards are draped in sheets, the drapery fastened up to the 
left shoulder with gilt or silver buckles. They should be provided with 
flowing white locks, either made of shavings, wool, flax, or tissue paper 
cut in narrow strips and sewed to a net head-covering. Their lyres (see 
Dictionary) are cut from pasteboard, and gilded or covered with gilt paper. 

SET I OF TABLEAUX 

1. The King 2. The Queen 

3. The Maid 4. The Blackbird 

5. The Bards 6. The Courtiers 

(The stage is hung with neutral-tinted curtains, or set with screens, for 
these tableaux, the same background being used for all. The curtain rises 
for Series I, and the King is shown, standing majestically in center of 
stage. Pages to hold the King’s train may be provided, if desired. The 
other figures follow, one by one, the curtain being raised and lowered for 
each appearance. The Queen may be attended by two Ladies-in-waiting. 
If there are no programmes, the Reader may announce the subjects of the 
tableaux.) 

SET II OF TABLEAUX 

1. King, counting Money. 

2. Queen, eating Honey. 

3a. Maid, hanging Clothes; Blackbird in hiding. 

3b. Maid in despair; Blackbird, escaping with Nose. 

(A table is needed for the first two-tableaux.) 

In No. 1, the King is seated at center of stage, facing audience, counting, 
chinking, and piling tin money. Scales, if to be had, would be effective 
on table; also trays and boxes to hold the coins. A few Courtiers may be 
in attendance and one holds the sceptre. 

In No. 2, the Queen is seated at table, ready to begin her feast. One 
Lady-in-waiting stands beside her, with the Loaf on a platter, and the 
bread-knife: another presents the jar of Honey, and still another holds the 
cane. Queen has just taken spoon, and is about to help herself. 


92 


THE LAUNDRY-MAID’S REVENGE 


No. 3a. For this tableau, the table is removed, and a clothes-line hung 
across stage. Maid, facing audience, has a clothes-basket at her feet, and 
is just hanging out a garment. One or two small fir trees set in stands 
must be provided, left stage, and behind these lurks the Blackbird, plainly 
seen by audience, of course. 

No. 3b. Maid, side toward audience, is bent over, rocking with anguish, 
her face covered by a handkerchief, which she presses close with both hands. 
Blackbird is escaping with Nose, which he must carry in his teeth. False 
noses are easily procurable in any town; but one, of good size, to be easily 
seen, may be modelled in clay (fired,) or of papier mache, or carved from 
wood and painted artistically. 

TABLEAU III 

s 

The curtain rises on a scene of regal splendor—King and Queen sit at 
table, center stage, beside each other and facing audience. Table is as 
grandly set as possible, and in front of King is a large silver dish (or tin 
milk-pan), with either a real top-crust, or a simulated one of brown paper. 

At left of stage stands Maid, with her foot on the prostrate Blackbird, 
her arms folded and her head held high in triumph. 

At right stand the Bards, ready to sing. The Courtiers are all present, 
some prepared to wait on their Majesties, with napkins on arm, pitchers, 
trays, etc., in hands; others watching the Maid or the Bards, one holding 
the Queen’s cane, another the King’s sceptre,—but all, of course, standing. 

When curtain rises, King has just plunged carving-knife into Pie, and, 
with fork suspended in air, is looking in astonishment at contents. Queen 
is leaning toward him, and holding plate for a helping. 

As soon as curtain is well up, the Bards begin “Sing a Song o’ Sixpence,” 
accompanying the song with their lyres. At second verse the Courtiers all 
join in, the four principal actors remaining immovable. The curtain is 
lowered while they are still singing. 



LITTLE JACK HORNER 


93 


CHARACTERS 


John Horner 
Dame Horner 
John Horner, Jr. 

Doctor (The Reader) 

Jack’s playmates and relatives 


94 



LITTLE JACK HORNER 

A Tragic Christmas Tale in Verse Accompanied by 

Tableaux * 

PART I 

John Horner was a citizen 
Of credit and renown; 

A Master Baker eke was he, 

Of famous Boston town. 

John Horner had a trusty spouse; 

He also had a son; 

And of his deeds, both good and ill, 

You’ll hear ere all is done. 

* These verses are read by the Doctor from the stage when the curtain 
is down. He should be provided with a picturesque high-backed chair, 
in which he sits during the tableaux. 




9 6 


LITTLE JACK HORNER 


Old Horner was a lusty wight, 

As broad as he was long; 

Dame Horner, tall and fair was she, 
Fit subject for our song. 

The infant Horner, little John,— 
Called “Jacky” by his daddy, 

Was neither tall, nor broad, nor long, 
But just a wee bit laddie. 

But words can never tell the tale; 

A picture’s something better, 

So here we’ll show them, large as life, 
Precisely to the letter. 

TABLEAU I 

The Horner Family 


PART II 

The tale, as told by Mother Goose, 
Seems something short in detail; 
Not handled in a wholesale way, 

But rather in a retail— 

Why are we never plainly told, 
What corner Jacky sat in? 

Why was he not away at school, 
A-learning Greek and Latin? 

Why in the corner did he sit? 

Why eat alone, we question? 

Did he pull out the dainty plum 
For fear of indigestion? 



LITTLE JACK HORNER 


97 


These queries and a hundred more, 
We’ll settle without trouble; 

Enough we know about the tale 
To answer more than double. 

In fact, wee Jack did go to school, 
And had a wondrous teacher, 

Well-versed in modern hygiene, 

A health-preserving creature! 

He galloped homeward every day, 
Replete with information 

And gave unto his pa and ma 
A regular jobation. 

He’d call his father from the shop, 
His mother from the kitchen 

And preach to them about the stuff 
That spinach is so rich in: 

Of proteids and of calories, 

He’d prattle without ceasing; 

H is flow of words on vitamines 
Seemed every day increasing! 

Well had it been if only he 

Had stored up all this knowledge 

And used it in his later years 
For lecturing at College. 

Alas! he lavished it abroad, 

Nor cared for Fame or Glory,— 

His sweet unselfishness was such,— 
And hence this mournful story. 

TABLEAU II 

Jack, Lecturing His Parents 


98 


LITTLE JACK HORNER 
PART III 


As Christmas-time was drawing nigh, 
Jack’s energy redoubled. 

Mince-pies and puddings racked his brain; 
His very dreams were troubled. 

“Eat not the rich and frosted cake!” 

He’d plead, in tones of passion; 

“The citron shun, forbear the plum, 

Make nuts and bran your ration!’’ 

The Baker’s trade to nothing shrank, 

For such was Jacky’s power, 

He’d put the customers to flight 
And rout them in an hour. 

“Refrain, refrain, my precious lamb!” 

H is mother cried, lamenting; 

“Drive not away the folk who buy; 

Such folly brings repenting!’’ 

The father said, “Give over, Jack, 

You’re driving me to madness; 

Eat, if you must, your modern stuff, 

Let others feast in gladness!” 

But no! the health-devoted child 
Rushed to his own perdition! 

I’ll tell you all, but first I’ll show 
His parents’ sad condition. 

TABLEAU III 

The Horners Pleading with Their Child 


LITTLE JACK HORNER 


99 


PART IV 

Old Horner still baked Christmas pies, 
Most exquisite confections, 

And Jack resolved to eat the plums, 
Thus marking his objections. 


“My duty,” cried the noble boy, 
“Is to protect my brothers. 
What boots it if of plums I die? 
I shall have shielded others!” 


So saying, to his corner dim, 

The precious child betook him, 

And ate the plums from Christmas pies 
Till sight and sound forsook him. 


Not only pies and puddings, too, 

But plums in cakes he swallowed— 
No wonder, taking such a course 
That such disaster followed. 


They bore him to his little bed, 
A martyr to his duty, 
Lamenting he must pass away 
In pride of youth and beauty. 


Old Horner hurried to his shop 
And baked till morning early; 
The eager buyers bustled in, 

All Christmas hurly-burly. 


IOO 


LITTLE JACK HORNER 


Did Jacky die? Oh, not at all! 

’Twas nothing half so shocking. 
He only lost the Christmas tree 
And lost his Christmas stocking. 

TABLEAU IV 

(a) Bearing the Hero to Bed 
(h) The Hero on Christmas Day 


CHARACTERS 

John Horner John Horner, Jr. 

Dame Horner Doctor (The Reader) 

Jack’s playmates and relatives. 

COSTUMES 

John Horner s corpulent person is attired in a baker’s dress and cap. 

Dame Horner wears a simple calico or gingham frock, with an apron 
and a mob cap with ruffle, the fullness held in by black ribbon. 

Jack Horner s costume must be picturesque. He should look as infantile 
as possible to emphasize the contrast with his learning and should wear 
short stockings and ankle-ties. His suit may be scarlet or green (Christ¬ 
mas colors) and if made in Lord Fauntleroy fashion, he should have a sash 
of the contrasting color and a broad lace color and cuffs. If a girl takes 
the part, long curls would be effective. 

Doctor —This personage wears spectacles and a doctor’s cap and gown. 

Playmates and relatives appear but once, and may be gaily attired, accord¬ 
ing to fancy. 

TABLEAU I 

THE HORNER FAMILY 

There is no change of scene in these tableaux and if scenery is to be had, 
any ordinary interior will do. Curtains or screens will serve as a back¬ 
ground, however, the stage being set with such furniture as the action 
indicates. 

In Tableau I, Father Horner is first shown, standing center stage; next 
Dame Horner; third, the heroic Jack and then the three together, appro¬ 
priately posed. 



LITTLE JACK HORNER 


IOI 


TABLEAU II 

JACK, LECTURING HIS PARENTS 

Jack stands on stool at right of stage. A blackboard is set on an easel, 
center back, covered with tables giving various food-values. If lettering 
can be made sufficiently plain, print at top, " Horner's Health Clinic ” 

Jack holds pointer in hand and is facing parents who sit in front of him 
(left), side by side. Father holds a rolling-pin and mother clutches a 
soup-ladle. Both are looking up at child in astonishment; father’s mouth 
is slightly open as he stares and mother, leaning back, holds up her hands 
in wonder. 

TABLEAU III 

THE HORNERS PLEADING WITH THEIR CHILD 

Jack, still on his stool, pointer in hand, stands center stage, arms folded, 
looking straight before him, inflexibly determined. Mother kneels right, 
hands pressed together and held high in supplication. Father kneels left 
on one knee, holding baker’s cap in left hand and extending right as if in 
argument. 

TABLEAU IV (a) 

BEARING THE HERO TO BED 

Four relatives, of any age, size or sex, bearing Jack’s stiff and uncon¬ 
scious form, head procession which moves across stage from right to left 
and may be accompanied, if desired, by mournful strains on the piano. 
(“Funeral March of a Marionette” would be suitable.) Behind the Hero, 
comes Dame Horner, bowed with grief, wringing hands and walking with 
difficulty; Father follows, wiping his eyes and then a train of relatives and 
playmates, as many as desired, in all stages and attitudes of affliction. If 
blackboard is light enough, let two playmates carry it, lettering toward 
audience. The tragedy is up to date in every respect, so all costumes may 
be modern. 

TABLEAU IV (b) 

THE HERO ON CHRISTMAS-DAY 

A large easy-chair, stuffed with pillows, is set center stage, a small table 
beside it and footstool in front. Jack is in chair, a night-dress slipped 
over costume, his face w T ell-floured and his head tied up in a large white 
bandage, the ends sticking up behind like a rabbit’s ears. His eyes are 
closed and he leans back wearily, his knees covered with blankets. The 


102 


LITTLE JACK HORNER 


table is set thick with bottles and some are on floor. Behind the chair 
stands Mother Horner with fan and beside it the Doctor with the largest 
bottle procurable and an immense mixing-spoon. He is bending over Jack, 
presenting the draught. 

If this finale seems too depressing, it is suggested that curtain be raised 
a third time to show Jack, restored to health, a holly crown on his head, 
dancing in the middle of a ring formed by his parents, the Doctor, his 
relatives and playmates. 



SCHOOL-BELL FEVER 


103 


CHARACTERS 

Mother 

Child 

Doctor 

Dennis 


104 



SCHOOL-BELL FEVER 

(“Febris Tintinnabuli, Scholastica”) 

SCENE I 

Curtain rises disclosing Mother at work by table, either darning 
stockings, knitting or sewing. IVorkbasket by side. As 
curtain goes up shouts and laughter of children are heard 
off stage with thump of skipping ropes, bouncing of balls , 
blasts of tin horns , etc. Mother goes quietly on with work 
for a few seconds until a bell is heard to ring violently. 
Dead silence follows. Mother raises her head and calls. 

Mother : 

Amanda! (or Frederick!) Amanda!! (Waits a moment 

then speaks aside ) I should think the child was deaf, but she 

105 



io6 


SCHOOL-BELL FEVER 


(lie) isn’t dumb, if I can judge from the shouts I just heard. 
(R aises voice.) Amanda!! Didn’t you hear the school bell? 
(Lays down work and rises, looking toward door.) 

{Door slowly opens and child enters with dragging feet and 
hanging head.) 

Amanda: {slowly and feebly) 

Here I am, Mother. Did you want me? 

Mother : 

Didn’t you hear the school bell? 

Amanda: {holding hand to head) 

Well—I thought I heard something, but I wasn’t sure—I feel 
so sick, Mother, I don’t see how I can go to school. 

Mother: {still standing) 

Feel sick! Why, a moment ago you were screaming like a 
steam whistle! 

Amanda: {changing hand to side where she seems to have 

a pain) 

Yes, that was when the pain began— {panting) —just like a 
knife!— {Sinks into chair.) 

Mother: {still standing and looking over spectacles at child) 

Just like a knife, hey? Well, that is bad {shaking head); 
no doubt you are going to have a long sickness. {Starts toward 
door.) I’ll send for the doctor at once. 

Amanda: {faintly) 

Oh no, Mother. I think if I lie down for a while and look 
at my new picture book I shall feel much better. 


SCHOOL-BELL FEVER 


107 


Mother: (opening door and holding it ajar) 

No, indeed, Amanda. That wouldn’t do at all. You need 
medicine for such a pain as that. ( Calling from door) —Den¬ 
nis, get the doctor at once. Amanda is very sick. 

Gruff voice off stage 

Yes, ma’am, I’ll run quick. 

Amanda: (beginning to sniff) 

Oh, no, Mother, I don’t need any medicine. 

Mother: (returning to child) 

Oh, yes, you do, you poor child, and you must lie down at 
once and let me make the room dark. ( Takes child by hand, 
child still sniffing and beginning to sob and leads her to sofa. 
Business of helping her to lie down, arranging cushions, covering 
with afghan, etc.) Now lie quiet till the doctor comes and he’ll 
give you some medicine to cure you. ( Begins to lower shades, 
or drop curtains.) Do you suffer just as much now? 

Amanda : 

Oh, no, Mother. {Half-sitting up and in stronger voice) — 
The pains seem to be gone and I feel much better. 

Mother: {shaking head seriously) 

Oh, it’s a bad sign when pains come and go like that. You 
must have perfect quiet and no exciting food. Your father and 
I are going to have chicken pie and ice cream for dinner, but I’ll 
make you a nice piece of dry toast. 

Amanda: {breaking out into loud sobs) 

Oh, Mother, I w-w-w-want i-c-c-ce c-r-r-r-eam, too! Oh, 
Mother, I don’t feel sick. 

( Curtain.) 


io8 


SCHOOL-BELL FEVER 


SCENE II 

Room a little dusky from lowered shades. Strong odor of cam¬ 
phor, which audience will soon perceive. Bowl of water 
on table. Child on sofa with closed eyes and wet bandages 
around head. Mother sits beside her, working. Tap is 
heard at door. 

Mother : 

Come in! (Doctor enters.) Oh, good morning, Doctor. 
(Rises and shakes hands.) I am glad that you could come so 
soon. 


Doctor: (laying cane and medicine case on table) 

I was very busy in my office, but I could not let the poor child 
suffer. How does she seem now? (Opens case and takes ther¬ 
mometer from pocket.) 

Mother : 

She has fallen asleep after terrible pain in her head (Lays 
hand to head with expression of agony) and in her side here, like 
a knife. (Shows spot and gasps.) 

Doctor : 

I must wake her and take her temperature. (Approaches 
sofa.) 

Amanda: (in awed voice, sitting up and taking bandage 

from head) 

What is the doctor going to do, Mother? 

Mother : 

\ 

Only take your temperature. Lie down, my child. It will 
not hurt very much and if it does, it is better than that knife-like 
pain! 

(Child lies down and doctor puts thermometer in mouth.) 


SCHOOL-BELL FEVER 


109 


Doctor: (laying hand on child’s head and then feeling pulse) 
Does she have these attacks often, Madam? 

Mother: (putting handkerchief to eyes) 

Oh, yes, Doctor, very often and always at this time, between 
eight and nine o’clock, and just after her father goes to his office! 

Doctor: ( groaning) 

Oh, very bad, very bad, Madam. I sympathize with you 
deeply. The malady is well known, I regret to say; it is what 
is commonly called “School-bell Fever’’ or Febris Tintinnabuli 
Scholastica. 

{Takes out thermometer and holds it to light.) 

Mother: ( weeping, face buried in handkerchief) 

Oh, my poor child. I fear there is no hope for her, my little, 
lost Amanda! 

Amanda: (sits up, but is promptly returned to place by Doctor) 
Don’t cry, Mother, I’m all well. 

Doctor : 

No, my child, you cannot be well, for you have not taken your 
medicine. {Goes-to medicine case and comes back with a soup 
ladle and a large bottle filled with black liquid.) 

Mother: {raising her head with animation) 

Don’t stint the poor child, Doctor, give her plenty! Her 
father would be glad to pay for a gallon of medicine, if it would 

cure her. 

Amanda: {throwing off afghan and rising with detei mutation) 

Indeed I am quite well, thank you, dear Mother and kind 
Doctor. {Curtsies or bows to each.) I think perhaps I’d 


I 10 


SCHOOL-BELL FEVER 


better start for school right now, for I remember our class has 
a hard ’rithmetic lesson to-day. 

Doctor: (still holding ladle and bottle and turning to Mother) 

The child indeed seems better, Madam. Could we not make 
some simple tests to see if she can stand the strain of study? 
Can you clap your hands, my child? 

(Mother rises and watches, standing by Doctor. Imitates in 
dumb show whatever child does. Amanda claps hands vio¬ 
lently. ) 

Doctor: (setting bottle and ladle on table) 

Can you jump up and down? 

(Amanda jumps several times.) 

Doctor : 

Can you skip? 

(Amanda skips around stage.) 

Doctor : 

Can you dance? So —(lifting up gown and taking steps) — 
Tra-la-la-la! Tra-la-la-la ! 

Amanda: (imitating him) 

Tra-la-la-la! Tra-la-la-la! 

Doctor: (turning to Mother) 

The child is cured, Madam. 

Mother: (pressing fee into his hand) 

Ah, what a noble art is yours, my dear sir. 

(If a boy is taking the part let his accomplishments be sub¬ 
stituted: turning somersaults, standing on head, etc.) 



SCHOOL-BELL FEVER 


hi 


Amanda: (kissing Mother and shaking hands with Doctor) 

Good-by, Mother. Good-by, Doctor, Em off to school. 

(Runs out of room . Mother and Doctor face each other, 
smiling and shaking heads.) 

(Curtain.) 


CHARACTERS AND COSTUMES 

Mother —Costume according to choice, but a white apron, white surplice 
or neckerchief, cap and spectacles should be worn. Gray or white hair and 
side curls if desired. 

Child —The child, either boy or girl, should be from six to ten years old 
and wear appropriate costume, either white or light in color. If a girl, 
short socks and ankle-ties, flowing hair or curls are effective, and a sun- 
bonnet or broad hat hanging by strings from neck. Boy may wear white 
Russian blouse and trousers, or white sailor suit and carry cap in hand. 

Doctor —Skullcap and long black gown (cambric), broad white collar 
and spectacles. Long gray hair and beard of yarn or ravelled rope. Car¬ 
ries medicine case and walks with cane. 

Dennis (Voice off Stage). 


SETTING 


An ordinary room with a table and chairs, and a sofa provided with 
cushions and afghan. 





TOM GOES TO LONDON 




113 


CHARACTERS 

Granny Garland 
Garland Granddaughters 
Queen 

Court Attendants 
Usher 

Lazy Tom: afterwards Sir Thomas Cat of Mount Catten 

White Kitten 

Mouse 


114 



TOM GOES TO LONDON 


A Cat-tale in Four Waves With Musical Accompaniment 


(One change of scene.) 


Pussy, where have you been today? 
“Out in the meadow, asleep in the hay.” 
Pussy, you are a lazy cat, 

If you have done no more than that! 


Pussy-cat, pussy-cat, where have you been ? 
“I’ve been to London to visit the Queen.” 
Pussy-cat, pussy-cat, what did you there? 

“I frightened a little mouse under her chair.” 


115 


% 














TOM GOES TO LONDON 


ii 6 


SCENE I 

‘‘Spinning Song” (Mendelssohn), may precede this scene, or 
any other composition of the kind, to be found in music-albums. 

Curtain rises on Granny Garland, seated knitting, center stage, 
in picturesque high-backed chair. On either side are 
grouped granddaughters, as many as desired, all engaged 
in handiwork of one kind or another, the idea being to rep¬ 
resent an old-time housewife at work among her maidens. 

Granny Garland: (raising head from work) 
Children, where is Tom today? 

Grandchildren: {in unison ) 

We do not know, grandmamma. 

Granny : 

No one of you has seen him? 

Grandchildren: {in unison) 

No, grandmamma. 

Granny : 

An idle Tom. He wastes his time. Go, Elizabeth, and see 
If he is in the pantry, and, Jane, look in the kitchen. Susan, run 
you to the cellar and call him. 

[Exit Jane, Susan, and Elizabeth {any three of the 
girls), returning in a moment, entering at same time 
and saying in unison : 

Jane, Susan, Elizabeth: 

He is not to be found, grandmamma. 


TOM GOES TO LONDON 


117 


Granny : 

Alas, a lazy cat! Bid the maids call him, Priscilla. 

[Exit Priscilla (any other girl). A moment’s silence, 
while all go on working busily. Enter Priscilla, 
who takes her seat and her work, followed, after 
a brief interval, by Tom, walking upright , of course. 
Wisps of hay are sticking to his fur, and he tries to 
brush them off as he enters and stands before 
Granny. 

Granny: (with great dignity) 

Good-morning, idle Tom. 

Tom: 

Good-morning, madam. ( Bowing low.) 

/ 

Granny: ( severely) 

What have you been about today, Tom? 

Tom: 

Oh, always at work, always at work, madam. I inspected 
the kitchen floor under the stove this morning, fearing it was 
getting too warm; but the cook would not let me stay there long 
enough to find out what was the matter. 

[Granddaughters look at one another, raise eyebrows, 
smile and nod.] 

Granny : 

Did you do anything else, Tom? 

Tom: 

I went to the pantry, madam, and was about to smell a dish 
of cream, just to see if those wretched mice had been near it, 


ix8 


TOM GOES TO LONDON 


when the waitress took a broom to me. My intentions were of 
the best, madam, ( wipes eyes with paw) but I am always mis¬ 
judged. ( Sniffs pathetically.) 

Granddaughters: (in unison, shaking heads) 

He is always misjudged, poor Tom! 

Granny: ( frowning) 

Be quiet, children. ( Turning to Cat.) And what then, Tom? 

Tom: 

I went to the meadow and was looking over a haystack to find 
a nest of field-mice when the maids called me. 

Priscilla: 

The maids said he was asleep, grandmamma, and they had 
to call him twice. 

Tom: (turning on her) angrily) 

What do the maids know of the art of catching mice, Pris¬ 
cilla? Often a hunter has to pretend to be asleep, or he would 
never secure his game. 

Granny: (nodding in assent) 

Very true, Tom. You have a glib tongue, and can explain 
your actions to the Queen’s taste; but when all is said and done, 
you are but a lazy cat! You must do, in future, much more 
than you have done of late, or you will never be worthy of this 
diligent household. ( Looks with approval around her.) 

Tom: ( boldly) 

Talking of queens, madam, I have an idea. You shall not 
again say that I am idle. I will go to London, on foot and 
alone, to visit our own beloved sovereign! 


TOM GOES TO LONDON 


119 


Granny: 

Go to London to see the Queen! 

Granddaughters: (in unison ) 

Go to London! (Stopping work and holding up hands.) 

Granny: 

And what will you do there, Tom? 

r 

Tom: 

I know not, madam. It may be that I can do Her Majesty 
some service. 

Granny: 

This is folly, Tom. The Queen would never see you. 

Tom: 

If a cat can look at a King, madam, he surely may have a peep 
at a Queen! It is enough! I will show that I am not idle! 
(Looks around the semi-circle, proudly.) I go to make ready 
for the journey, and will return to bid you farewell. 

[Exit, hastily, waving his paw.~\ 

Granny: (dropping knitting, and looking at granddaughters) 
Well, well, well; so idle Tom is going to London! 

Granddaughters: (in unison; looking with astonishment at 

one another) 

Tom is going to London ! 


(Curtain.) 


120 


TOM GOES TO LONDON 


SCENE II 

“Wanderers’ Song” {Schumann ), “Good-bye, Sweetheart” 
{Hatton ), “To Wander Is the Miller’s Joy,” “Good-night, 
Ladies,” or “Good-night, Farewell, My Own True Love,” 
{College Songs,) may precede this scene. 

Curtain rises, showing same interior and same figures, 
save that Priscilla’s chair is vacant. Work going on as 
usual. 

Priscilla enters and approaches Granny. 

Priscilla: 

Tom is without, Granny, and wishes to know if he can come 
in and bid you farewell. 

Granny: {bowing in assent, and waving hand majestically) 
Bid him enter! 

[Tom enters in travelling costume, as described in direc¬ 
tions, takes off cap, and bows low to Granny and 
granddaughters. 

Tom: 

I leave, madam, at once, for a far country, and have come to 
say farewell. 

Granny : 

London is only fifty miles away, Tom, but I fear {shaking 
head sadly), you will have your trouble for your pains. You 
can never see the Queen! 

Tom: 

It may be: but at least I will prove to you all {waving pazv, 
dramatically) that I am no idler, but a Cat of spirit and energy.. 
Farewell, madam; farewell, my old companions! 

[Moves away, slowly, wiping eyes with paw.~\ 


TOM GOES TO LONDON 


I 2 I 


Granny : 

Farewell, Thomas. Children, bid Thomas farewell! 

[ Grandchildren, all save Priscilla, start from seats and 
surround Tom, shaking hands, patting him on shoul¬ 
ders , etc., and go with him to door. All exit but 
Granny (who looks after group with interest ), 
and Priscilla, who weeps, head in arms, on back 
of chair. 

{Curtain.) 


SCENE III 

Same interior, made magnificent. Granny’s chair covered with 
drapery will do for throne. Screens, cushions, embroid^ 
ered curtains, tall vases of flowers, palms in pots, — any¬ 
thing decorative that can hastily be added to the scene will 
serve. 

While these are being set in place, the “Boccherini 
Minuet ” or that from “Don Giovanni,” suggesting a court 
scene, may be played. 

Queen on throne; attendants grouped in semicircle 
about her. 

Enter Usher, bowing repeatedly as he approaches 
Queen. 

Usher: 

A simple Cat from the country, Your Majesty, requests an 
audience. The servants were about to send him away, but I 
ventured to detain him. 


Queen: 

You were right. The meanest of my subjects may approach 


122 


TOM GOES TO LONDON 


me. Fearless am I, nor need be feared of any. Let the cat 
approach! 

[Usher backs toward door, waving wand, and beckons 
Tom. Usher remains at door. Tom enters, with¬ 
out stick, bundle or purse, but with a sword hang¬ 
ing from belt, and a short cape attached to his 
shoulders. Queen motions him with scepter to 
come nearer, and he kneels before her. 

Queen: ( graciously ) 

You are welcome, young sir. You come to us from the coun¬ 
try, we hear. What may be your name and family? 

Tom: (still kneeling) 

My name is Tom, Your Majesty, of the race of Tomcats. It 
is said that in King Arthur’s time one of my blood was a favourite 
at court. 

Queen : 

Methinks I have heard so. And what can we do for you, 
young sir? 

Tom: 

Nothing, my Queen. I came but to see your majestic face and 
hear your regal voice. 

Queen : 

It is well. You may rise, Tom. (Tom rises.) The meanest 
of my subjects may approach me. Fearless am I, nor need be 
feared . . . (breaks of suddenly in alarm and looks about 
her). Did anyone hear a noise? 

Attendants: (in unison) 

No, Your Majesty. 


TOM GOES TO LONDON 


123 


Queen: {beginning again) 

Fearless am I, nor need be feared . . . (breaks off again). 
Did no one hear a—a—sort of scratching underneath my 
throne? [Looks down, uneasily, raising her robes a little. 

Attendants: (in unison) 

No, Your Majesty. 

[Tom stoops head as if listening, and draws nearer 
throne. Attendants start forward as if to reprove 
his impertinence. Queen rises in alarm; but all 
stand transfixed as Tom suddenly goes down on all 
fours and pounces at something on floor. Combat 
ensues, attended by growls, meows, and snarls, exe¬ 
cuted off stage and watched in fright and excite¬ 
ment by Queen and followers. Queen resumes 
throne, pants, and fans herself. Tom rises at length 
zvith mouse dangling from paw, and, bowing, lays 
it at Queen's feet. Attendants look at each other 
in amaze. 

Tom: ( grandly) 

Here is the enemy, Your Majesty. 

Queen: 

Thou hast done me a great service, young sir, and I will as 
greatly repay it. Kneel before me! 

[Tom kneels, and Queen rises, scepter in hand. 

Queen: 

With this scepter I admit thee to the company of my nobles. 
(Touches him lightly on shoulder with scepter.) Rise, Sir 
Thomas Cat of Mount Catten! 

[Tom rises, approaches Queen, and kisses her hand.] 


124 


TOM GOES TO LONDON 


Queen: 

Thou mayst now betake thyself to thy rustic home, Sir 
Thomas, for thou hast seen thy Queen. Take this in remem¬ 
brance of her! [ Throws her chain about his neck.] 

[Tom kisses chain, fervently, and backs away from 
throne toward door, which Usher opens for him.] 

{Curtain.) 

SCENE IV 

“Home, Sweet Home,” “Home Again From a Foreign Shore,” 
and “Auld Lang Syne,” may be played while court decora¬ 
tions are being removed. 

Curtain rises on first interior. All figures same. Same 
business. Priscilla’s chair again vacant. 

Door opens, and Priscilla enters. She closes door, and 
stands quietly, looking at Granny. 

Granny: 

What is it, Priscilla? Do your errand quickly, and come back 
to your work. 

Priscilla: 

A grand gentleman has arrived from Court, grandmamma, 
and begs the privilege of seeing you. 

Granny: {laying down work, brushing off dress, and 

settling cap) 

A grand gentleman! {Excitedly.) Run, Jane, fetch a cup 
of cordial for the visitor. Susan, run for cakes. Elizabeth, 
have the guest-room prepared. What is the gentleman’s name, 
Priscilla ? 


TOM GOES TO LONDON 


12 5 


Priscilla: 

Sir Thomas Cat of Mount Catten, Granny. 

Granny: {with puzzled look ) 

I remember no such title, child; but bid the gentleman come in. 
[Priscilla opens door, and Sir Thomas Cat of Mount 
Catten enters, to the tune of “See, the Conquering 
Hero Comes.” 

Granny and Granddaughters: {in unison) 

Why, this is Idle Tom! 

Sir Thomas: {center stage) 

No longer Idle Tom, ladies. I am a Noble of the Queen’s 
Court, and styled by Her Majesty herself, Sir Thomas Cat of 
Mount Catten! 

[Enter Jane with tray, holding bottle and glasses; Su¬ 
san with a plate of cakes, and Elizabeth with a 
candle and candlestick. All three stand transfixed. 

Granny: {rising) 

You are welcome, Sir Thomas. Priscilla, offer Sir Thomas 
a seat; Jane and Susan, bring your cakes and cordial. Perhaps 
you will tell us of your visit to Court, Sir Thomas. 

[Granny sits down .] 

Sir Thomas {seating himself and waving away cakes and cor¬ 
dial, which girls set on table, then retiring to seats). 

It was brief, madam,—brief but delightful! And as I was 
able to do Her Majesty a small service, she repai^l me not only 
with a title, but with this chain from her royal neck. [ Lifts chain .] 


126 


TOM GOES TO LONDON 


Granny : 

And what was the service, Sir Thomas, if I may ask? 

Granddaughters: {in unison) 

What was the service, Sir Thomas? 

Sir Thomas: ( rising, and with great emphasis ) 

Alone and unaided, madam, with helpless attendants standing 
by, I killed a Mouse beneath Her Majesty’s chair! 

Granny: 

Killed a mouse, and alone! Ah, Sir Thomas, I fear I have 
never valued you enough! ( Sighs and shakes head.) Come, 
my children, and congratulate Sir Thomas. 

[Granddaughters gather around him, make courtesies, 
etc., returning at once to seats. 

Granny : 

And do I understand, Sir Thomas, that you have returned to 
this humble spot, and will again take up your interrupted service? 

Sir Thomas: {looking upward and sighing, with hand placed 

on heart) 

Home is where the heart is, madam. 

Granny: 

True, true! {Nodding head in assent.) I am not so old that 
I cannot understand you. Priscilla, {turning quickly to girl) 
fetch the White Kitten, and tell her that Sir Thomas awaits her 
for the wedding ceremony! 

[Exit Priscilla. Sir Thomas clasps paws in ecstasy 
and watches door. A Wedding March is heard . 


TOM GOES TO LONDON 


127 


“Swedish Wedding March“ is suitable. Priscilla 
enters promptly, leading White Kitten. Sir 
Thomas goes to meet her, takes her paw, and they 
stand together in front of Granny. Grand¬ 
daughters group themselves each side, facing audi¬ 
ence, as if for ceremony. Wedding March continues 
softly to end of play. 

Granny: ( rising) 

Bless you, bless you, my children, and may your line never 
perish from the earth! All hail (raising hand high). Sir 

Thomas and Lady Cat of Mount Catten! 

♦ 

Granddaughters: (in unison and with similar gestures) 

All hail! All hail! 

Curtain falls to crashing perforjnance of Wedding March. 


CHARACTERS 

Granny Garland 

Garland Granddaughters (In desired number) 

Queen 

Court Attendants (In desired number) 

Usher 

Lazy Tom: afterwards Sir Thomas Cat of Mount Catten 

White Kitten 

Mouse 

COSTUMES 

Granny Garland —Traditional dress for old lady, with cap with float¬ 
ing strings, knitting, and spectacles. She must be well dressed, as she is 
supposed to be a dame of high degree. A table beside her holds a basket 
with work-materials. 

Garland Granddaughters —Long skirts to ankle; white aprons; white 
mob caps, either gathered in with black ribbons, or these varying accord¬ 
ing to taste. 



128 • 


TOM GOES TO LONDON 


Queen —As Queen does not have to walk about, but only rises from her 
seat to speak, she may be hastily draped in an embroidered curtain or 
portiere; or she may be a “White Queen,” gowned in sheets and lace 
curtains. Her train must be long, however, lying in folds about the foot 
of the throne, and she must have a gorgeous crown and scepter (see Dic¬ 
tionary), gem-studded, if desired. She may be decked with jewels, and 
one, at least, of her necklaces (if it be only of popped corn and cranberries,) 
must be long and heavy enough to admit of its being removed and thrown 
about Sir Thomas’ neck. She may wear a fan on a chain, or have one 
beside her on table. 

Court Attendants —These may be dressed in court costume, with crepe 
paper coats in different colors and cocked hats to match with full rosettes; 
or, if ordinary clothes must be worn, the performers should borrow long 
capes, one corner thrown over the left shoulder, to conceal ordinary wear 
below. In any case cocked hats are needed, and long spears which they 
hold as they stand in martial attitude on each side of Queen, 

Usher —Court costume, or a black velvet suit, if to be had. No hat. 
Wand of office. Large white favor in button-hole. 

Lazy Tom —Tom’s suit may be gray, black, or white spotted with black 
(spots made with crayon or charcoal) ; but must be of a furry material as 
Canton flannel, plush, velvet, or duvetyne. It is cut like a child’s sleeping- 
suit, with feet (patterns at any Department store), and is worn directly 
over underwear. The sleeves cover the hands, but must be loose enough 
not to cramp fingers. A hood with cape, cut with pointed ears, is drawn 
tight over head, the cape pulled down under suit to keep hood in place. 
Joining may be covered by Eton or sailor collar with sailor tie. Tom may 
also wear a sleeveless Eton jacket, if desired. His tail is made separately 
and sewed to suit, and is stuffed with cotton, or with a properly-shaped 
piece of wood wound with yarn. It will have to trail, of course, unless 
some ingenious lad can run a stiff wire through it and attach a cord which 
the animal can manage himself, raising and lowering it at pleasure. Entire 
cat dresses may sometimes be had at a costumer’s, if expense is no object; 
and cat masks may sometimes be found, which will fasten to hoods of 
home-made suits. 

When Tom makes his farewell visit before going to London, he wears 
a feathered hat or cap of fancy style, top boots, and carries a stick to which 
is tied a bundle wrapped in a red bandanna. Rubber boots, properly orna¬ 
mented, will serve for his foot-gear; and if he is a black or gray cat, a 
jacket, cap and boots of red would be attractive. He wears a belt around 
his waist, with a hanging purse attached. In court scene he wears a sword 
and a short plaited cape (paper will serve) hanging from shoulders. 

White Kitten —White suit, cut like Tom’s, with trailing tail. She 
wears a wedding veil (lace or muslin curtain), and a wide white ribbon 


TOM GOES TO LONDON 


129 


around neck (paper, if desired), with a large bow under chin. The author 
has sometimes made a very attractive tortoise-shell kitten,—white suit, with 
spots of yellow and black, and yellow tail. 

Mouse —The Mouse is seen but for a moment, and at a distance; so a 
bit of gray-brown material of cylinder shape stuffed with cotton and pro¬ 
vided with a long shoe-string tail, shoe-button eyes, and short wire legs 
will serve very well. The animal must of course be large enough to be 
seen by audience. 

SCENES 

Any ordinary interior will serve, furnished according to fancy, with 
high-backed chair and table beside it for Granny. The Court Scene, how¬ 
ever, must be made gorgeous with hangings, cushions, and draperies of 
brilliant colors. 




















MARY’S 







MAGIC 


CHARACTERS 

Reader 

Mistress Mary 
Flower-maidens 


132 



MARY’S MAGIC 

An Old Tale, Retold 
IN THREE PARTS 

With Th ree Tableaux and a Closing Dance of Flowers 

“Mistress Mary, quite contrary, 

How does your garden grow?” 

“With cockle-shells and silver bells 
And fair maids all in a row.” 


PART I 

Tell us who was Mary, quite contrary, 

She of whom the old rhyme sings? 
Surely an enchantress, or a fairy, 

Surely something wonderful, with wings. 

133 








134 


MARY’S MAGIC 


If she were an ordinary being, 

How would cockles in her garden grow? 

None of us, you cannot help agreeing, 

Ever raised fair maidens in a row. 

Listen! You shall hear the pretty story; 

Hear how Mary wove her magic spell; 
Waved her wand, and flowers bloomed in glory; 
Sowed a seed and grew a silver bell. 

This is Mistress Mary, quite contrary, 

Like a sweet embodiment of Spring; 

Never of her favours is she chary; 

Sunshine, love, and laughter does she bring. 

TABLEAU I 
Mistress Mary 


PART II 

Mary had a special kind of magic, 

Good for making blossoms grow and thrive; 

Never used for transformations tragic,— 

Just for making flowers come alive. 

“Babies’ Breath” she sowed, and quick there flourished 
Lasses, like a flower, straight and tall; 

Cockle-shells and silver bells she nourished, 

Blowing, growing, by her garden wall. 

See the dainty flower-maidens bringing 
Fragrance, filling all the garden air; 

Hear the bells of silver, softly ringing 
Happy tunes that happy mortals share! 

TABLEAU II 

The Flower Maidens 




MARY’S MAGIC 
PART III 


135 


Once the garden made and safely growing, 

Fairy Mary wove another charm: 

Gave her flowers life, on them bestowing 
Power to brighten earth, but never harm. 

Forth from out the garden fair she led them; 

Half awake, they followed in a trance, 
Turning, swaying, swirling, swift she sped them, 
Living blossoms, whirling in a dance. 

Such a dance, a summer feast of flowers, 

Mary brings before you here to-night: 

So the sunbeams dance along the hours, 

So the firefly twinkles in his flight. 

TABLEAU III 

The Dance of the Flowers 


CLOSING VERSE 

Mary, now the blossom-dance is over, 

Sends her fair ones tripping to their beds, 
Deep in garden grass and meadow clover, 
Where they bow their sleepy little heads. 


CHARACTERS 

Reader Mistress Mary 

Flower-maidens 

COSTUMES 

The Reader is to be a little girl in Kate Greenaway costume of white, 
pink, or blue, i.e., a short waist, cut round in the neck, with elbow sleeves 




136 


MARY’S MAGIC 


and long skirt touching the floor. Sleeves and neck edged with deep ruffles. 
Large, round, white cap, with deep ruffle, held in by broad ribbon. 

A high-backed chair and reading-desk are provided for her, at left of 
stage. She stands to read verses, sitting through the tableaux, and reads 
from an immense book, which may be made of newspapers stitched together, 
covers being made of pasteboard and labelled MOTHER GOOSE’S 
MELODIES. 

Mistress Mary must be made to look as much as possible like a fairy. 
Her costume is white, and of gauzy material. She wears a crown, carries 
a wand, and is provided with wings. Any boy who can make a kite-frame 
can devise wing-frames of bamboo or wire, which can be covered with 
white material and further ornamented with fluffy feathers of muslin, or 
crepe paper, pasted in place. The wings can be fastened on with gold 
straps over the shoulders,* but must be made secure for the necessary dancing. 

Flower-maidens —Each girl who takes part in the entertainment (the 
number, so long as it is a dozen or so, being of no importance,) should 
select her own flower and be responsible for her costume. All alike wear 
a low-necked, short-sleeved, green slip of cheese-cloth, to which her par¬ 
ticular decorations are added. Flowers such as the daisies (yellow and 
white), roses and poppies (pink, and red, and white), wistaria, corn 
flower, buttercup, marigold, dahlia, cosmos, etc., or any blossom having 
large petals, are the easiest to make, and can be fashioned from crepe paper. 
The neck of the green slip is edged with these flowers, which may be made 
larger than natural size, and the ingenuity of the performers must be taxed 
to devise paper caps, or wreaths, to adorn their heads and suggest their 
chosen blossoms. Long garlands of such of these flowers as prove simplest 
to make, may also be provided to use in some of the figures of the closing 
dance. 

Scene —If scenery is to be had, a garden is of course shown. If not, 
screens or curtains will have to serve; and the garden beds, where the 
flowers are to stand, must be edged with dark green crepe paper cut to 
simulate grass. Any trees, shrubs, branches, vines, or large plants in pots, 
which can be introduced, will make a great improvement in the scene. 


TABLEAU I 

MISTRESS MARY 

As curtain rises, Mary trips (or dances) across stage, from left, waving 
her wand, sinks to a low courtesy in center, and so remains while curtain 
falls. 


MARY’S MAGIC 


137 


TABLEAU II 

THE FLOWER MAIDENS 

The Flower-maidens are all in place as curtain rises, set either in groups 
or lines, according to shape and size of stage. Their hands are folded 
across their breasts, and they stand as still as possible. Bird-songs, imitated 
from the wings, would be an addition to the tableau. 

TABLEAU III 

THE DANCE OF THE FLOWERS 

Whether this dance is simple or elaborate depends on the performers. 
It may be very simple indeed,—merely a tripping to music of little children 
in rhythmic evolutions such as are used in kindergartens; or it may be 
more elaborate figures by older girls w-ho have learned to dance. In either 
case, curtain rises upon flow T er-maidens, standing as before. Mary enters, 
from left, whirling to waltz-music, and touches a flower-maiden with her 
wand, w r ho immediately starts to life and pursues her in a game of “Follow- 
my-Leader.” All other dowsers are brought to life and follow in same 
way, and the dance then proceeds according to the skill of the performers. 
The curtain falls upon the last movement of the dance, and, while it is 
still down, the Reader gives the closing verse. 

The curtain rises for the last time to the music of the flower-dance, and 
the flowers are grouped about Mary, center stage. Raising her wand, 
she beckons them to follow her, and leads them to their former places in 
the garden. When all are in position, she moves among them all, to the 
music of a slumber song, touching each one with her wand. They fall 
asleep, wdth closed eves and hanging heads, as she passes, and she disappears, 
right, as curtain falls. 







A VISIT FROM ST. NICHOLAS 


139 


CHARACTERS 


Reader 
St. Nicholas 
Mother 
Daughter 

Three Sleeping Children 


140 



A VISIT FROM ST. NICHOLAS* 

Arranged for Pantomime 


’Twas the night before Christmas, when all through the house 
Not a creature was stirring, not even a mouse. 

The stockings were hung by the chimney with care, 

In hopes that St. Nicholas soon would be there. 

The children were nestled all snug in their beds, 

While visions of sugar-plums danced in their heads; 

And Mama in her kerchief, and I in my cap, 

Had just settled our brains for a long winter’s nap— 

When out on the lawn there arose such a clatter 
I sprang from my bed to see what was the matter. 

Away to the window I flew like a flash, 

Tore open the shutter, and threw up the sash. 

The moon on the breast of the new fallen snow 
Gave a lustre of midday to objects below; 


* By Clement C. Moore 


141 
































142 


A VISIT FROM ST. NICHOLAS 

\ 

When what to my wo'ndering eyes should appear 
But a miniature sleigh and eight tiny reindeer, 

With a little old driver, so lively and quick 
I knew in a moment it must be St. Nick! 

More rapid than eagles his coursers they came, 

And he whistled and shouted and called them by name. 
“Now, Dasher! Now, Dancer! Now, Prancer and Vixen! 
On, Comet! on, Cupid! on, Donder and Blitzen! 

To the top of the porch, to the top of the wall, 

Now, dash away, dash away, dash away all!” 

As dry leaves that before the wild hurricane fly, 

When they meet with an obstacle mount to the sky, 

So, up to the house-top the coursers they flew, 

With a sleigh full of toys—and St. Nicholas, too. 

And then, in a twinkling, I heard on the roof 
The prancing and pawing of each little hoof. 

As I drew in my head, and was burning around, 

Down the chimney St. Nicholas came with a bound: 

He was dressed all in fur from his head to his foot, 

And his clothes were all tarnished with ashes and soot: 

A bundle of toys he had flung on his back, 

And he looked like a pedler just opening his pack. 

His eyes, how they twinkled! his dimples, how merry! 

His cheeks were like roses, his nose like a cherry; 

His droll little mouth was drawn up like a bow, 

And the beard on his chin was as white as the snow. 

The stump of a pipe he held tight in his teeth, 

And the smoke, it encircled his head like a wreath. 

He had a broad face and a little round belly 

That shook, when he laughed, like a bowl full of jelly. 

He was chubby and plump—a right jolly old elf: 

And I laughed when I saw him, in spite of myself; 

A wink of his eye, and a twist of his head, 

Soon gave me to know I had nothing to dread. 




A VISIT FROM ST. NICHOLAS 


143 


He spoke not a word, but went straight to his work, 
And filled all the stockings: then turned with a jerk, 
And laying his finger aside of his nose, 

And giving a nod, up the chimney he rose. 

He sprang to his sleigh, to his team gave a whistle, 
And away they all flew like the down of a thistle. 

But I heard him exclaim ere they drove out of sight 
u Happy Christmas to all, and to all a good night!” 


SUGGESTIONS FOR PERFORMANCE 

(Poem to be read during pantomime.) 

SCENE 

An old-time New England bedroom. Bare floor, with braided or 
“dravvn-in” rugs. One window (practicable), with small panes of glass, 
curtained with a narrow white ruffle across top and one long breadth 
hanging down each side. Old-fashioned, straight-backed chairs, and a 
rocker with calico cushions. Bed with white vallances and curtains, and 
patchwork quilt. Trundle-bed, also with patchwork quilt, drawn out from 
beneath large bed and occupied by three sleeping children. Light-stand, 
with candlestick and snuffers, beside bed. Warming-pan hanging on wall 
near by. Simulated fireplace with large practicable opening: brickwork 
about it of Dennison paper: shelf above with large tropic shells, and a 
plaster copy of Sir Joshua Reynolds’ “Praying Samuel,” or a pair of old- 
fashioned candlesticks. Five stockings of graduated sizes and different 
colors hang from shelf. 

CHARACTERS 

Reader 

St. Nicholas (Lad of fourteen to sixteen years.) 

Mother (Either a grown person, or girl of twelve to fourteen years.) 

Daughter (Girl of ten to twelve years.) 

Three Sleeping Children 

COSTUMES 

Reader —To be dressed, if desired, as the French “Lady of Christmas,” 
(La Dame de Noel,) in long, white drapery, with a long, transparent 



144 


A VISIT FROM ST. NICHOLAS 


white veil. She wears a golden crown, cut according to fancy, over 
her floating hair, and a wide girdle of green pine-twigs sewed to soft muslin. 

St. Nicholas —Costume fully described in poem. 

Mother —This character is asleep during entire scene, but wears a night¬ 
dress, and a large white handkerchief tied about her head, its ends con¬ 
spicuously knotted on top. 

Children also sleep during performance. They wear nightgowns, the 
necks of which show, and perhaps a sleeve when an arm is thrown out on 
the pillow. One red flannel nightgown is a good contrast, but any bright 
red material would serve to make it. 

Daughter —Must be provided with as quaint and decorative a nightcap 
as can be found (charming caps can be made of crepe paper), and a long 
nightdress. She hastily puts on a dressing-gown and slippers (preferably 
pale blue), when she springs from her bed. 

Curtain rises to any gay Christmas music, or to any merry Santa Claus 
or Christmas Eve song familiar to the audience. A sleigh-bell accompani¬ 
ment is appropriate. Bedroom scene is disclosed, mother, daughter, and 
three younger children all asleep. Music goes on to give effect of scene, 
until Reader appears. Reader (may be invisible, if desired,) stands at 
left of stage, and begins poem. At Line 7 a far-off clattering of tiny 
hoofs and ringing of sleigh-bells is simulated, off stage, continuing through 
Lines 8 and 9. At Line 1 9, Daughter sits up to listen, and at Line 10, 
springs from bed. Reader pauses for the putting on of gown and slippers, 
then goes on with Lines 11 and 12, whose wording Daughter follows. 
Daughter leans from window during next eight lines, first looking upward 
toward moon, and then out to where St. Nicholas is approaching. Draws 
in head and glances toward bed to see if anybody else hears; then looks 
out again. The pattering of hoofs draws nearer through next eight lines, 
and whistles, cracking of a whip, and jingling of bells are heard more 
plainly. Then comes the prancing on the roof of the reindeer, and at 
Line 31 Daughter draws in head, turns, and confronts St. Nicholas (Line 
32) emerging from chimney. Reader pauses for tableau: Daughter either 
clapping hands and dancing, or clasping hands in ecstasy of surprise and 
joy. 

The next fourteen lines give a description of St. Nicholas, during which 
he bows and scrapes to Daughter, who returns his greeting. The couple, 
if capable, may indulge in a noiseless dance about the room here, should it 
be desirable to lengthen the entertainment. 

St. Nicholas then tiptoes to bed, bends over children, blowing them each 
a kiss, and waves hand to Mother. Daughter follows his movements, 
holding up finger warningly when he leans over children, and, if she has 
the ability, laughingly mimicking his waddling walk. At Line 47, (“A 
wink of his eye and a twist of his head,”) he turns and sees her, and laughs 
and shakes his head good-naturedly. At Line 48, he goes to chimney-piece, 


A VISIT FROM ST. NICHOLAS 


145 


followed by Daughter, and taking toys, etc., from pack, fills stockings. 
Daughter notices each gift with appropriate by-play. Reader pauses in 
middle of Line 50, till work is done. St. Nicholas then turns quickly, 
lays finger aside of nose, nods, and waves good-bye to Daughter and 
audience, and scrambles up chimney. 

Daughter rushes to window and leans far out, waving hand and throw¬ 
ing kisses. Pattering of hoofs, whistles, whip-cracks, jingling of bells, 
begin as if near at hand, and gradually die away. Curtain falls to gay 
Christmas music, or to such an instrumental selection as “The Merry 
Sleigh-ride,” beginning piano , rising to fortissimo, and dying away again. 

• ••*••• 

This little pantomime, though very simple, needs a good deal of practice 
to suit the action to the reading. The part of St. Nicholas is an easy one: 
but that of Daughter requires some ability in gesture, facial expression, 
and facility of movement. Mother sleeps quietly through scene, but chil¬ 
dren may move and toss a little to give room for by-play of Daughter— 
fear lest they waken, etc. The tester for curtains of old-fashioned bed 
may easily be made by attaching uprights (laths) and cross-pieces to any 
four-posted bedstead. The trundle-bed must be very low, as it is supposed 
to be kept under large bedstead by day. The warming-pan, if not the 
reality, may be fashioned from heavy cardboard, beaver board, or leather- 
bo^ird, covered with gilt paper to imitate brass, and provided with a wooden 
handle or a stout one of paper rolled like a lamplighter. If there is no 
suitable window in room where play is given, a disused window can be 
found somewhere, fixed in a frame at proper height from floor, and sheets 
fastened about it to represent white wall. In this case bright chintz curtains 
should be used. 

It is to be remembered that though the noises off-stage—bells, hoofs, 
whistles, whip-cracks—must be plainly heard, they must not be so loud 
as to obscure the reader’s voice. 






















THREE LITTLE 




KITTENS 


147 



CHARACTERS 

Reader 
Mother Cat 
Rat (Unseen) 
Three Kittens 


148 



THREE LITTLE KITTENS 

~ 

An Action-Poem in Four Scenes, Based on a Famous Classic 

by an Unknown Author 

SCENE I 

Three little kittens, they lost their mittens, 

And they began to cry, 

0 mother dear, 

JVe very much fear, 

That we have lost our mittens. 

Lost your mittens! 

You naughty kittens! 

Then you shall have no pie. 

Mee-ow, mee-ow, mee-ow, 

No, you shall have no pie. 

Mee-ow, mee-ow, mee-ow. 

149 














150 


THREE LITTLE KITTENS 


SCENE II 

The three little kittens, they found their mittens, 
And they began to cry, 

O mother dear, 

See here, see here! 

See! we have found our mittens. 

Put on your mittens, 

You silly kittens, 

And you may have some pie. 

Purr-r, purr-r, purr-r, 

O let us have the pie. 

Purr-r, purr-r, purr-r. 

SCENE III 

The three little kittens put on their mittens, 

And soon ate up the pie; 

O mother dear, 

JV e greatly fear, 

That we have soiled our mittens. 

Soiled your mittens! 

You naughty kittens! 

Then they began to sigh, 

Mee-ow, mee-ow, mec-ow, 

Then they began to sigh, 

Mee-ow, mee-ow, mee-ow. 

SCENE IV 

The three little kittens, they washed their mittens, 
And hung them out to dry; 

O mother dear, 

Do you not hear, 

That we have washed our mittens ? 


THREE LITTLE KITTENS 


i5 1 

Washed your mittens! 

O, you’re good kittens— 

But I smell a rat close by. 

Hush! Hush! mee-ow, mee-ow, 

We smell a rat close by, 

Mee-ow, mee-ow, mee-ow . 


CHARACTERS 

Reader Rat (Unseen) 

Mother Cat Three Kittens 

COSTUMES 

Reader —Dressed as “Mother Goose.” Full cotton skirt to ankles 
(striped or plain), with panniers, and a small shawl (preferably plaid), 
over shoulders and crossed at waist. White stockings and buckled slippers, 
barge white cap (paper, if desired) with ruffles, tied under chin. Crutch 
and spectacles. 

Mother Cat and Kittens —Two methods of costuming cat and kittens 
are given, so that the one more suitable to the ability and resources of the 
actors may be selected. A very pretty and cat-like effect may be produced 
by making Canton flannel hoods with pointed ears for the four actors; 
for the mother cat, a white hood with one black ear; for the kittens, one 
black, one white and one gray hood. These should be long enough to 
form a little cape over the shoulders. Mittens of same color must be 
provided, but may be made of the cloth. Each kitten wears a gay ribbon 
around her neck, tied in bow under chin. The mother cat wears spectacles 
and a small knitted shawl over shoulders and carries knitting. 

If more time and skill can be spent on the costumes, each actor may wear 
a sleeping suit of some cheap material of colors mentioned, fitted on over 
underclothing. Mother cat has not only one black ear, but black spots 
(charcoal) on her fur, and wears black mittens. Long tails, stuffed with 
cotton, are fastened to suits, mother cat’s tail being black. 

Any ordinary stage setting is suitable, as the cats, although able to talk 
like human beings, have not yet set up housekeeping for themselves. If 
an ambitious scene is desired, however, the children who present the play 
may spend some days in sketching and boldly lettering the Cats famous in 
Nursery Literature, as “Puss in Boots,” the “Pussy-Cat who went to 
London,” “Pussicat, Passicat with a white foot,” the “Cat who came 



1 5 2 


THREE LITTLE KITTENS 


fiddling out of a barn with a pair of bagpipes under her arm,” etc., etc. 
These may adorn the walls of the feline dwelling. 

The Reader, dressed as Mother Goose, comes hobbling on in front of 
curtain and recites the whole thrilling drama, with appropriate emphasis 
and gesture, then retires off stage and gives there, the first two lines of 
each verse and the eighth and tenth lines of the third verse, the Cat and 
Kittens giving theirs as indicated. The Kittens do all the mewing and 
purring and speak the remaining lines allotted to them. The last three 
mews are very soft on account of the near presence of the rat. 

SCENE I 

Curtain rises and discloses Mother Cat, seated, knitting and wearing 
mittens. She has a table by her side holding a good-sized piece of cheese 
on a plate and a bunch of catnip in a vase, which she sniffs occasionally. 

After a moment’s silence to enjoy the picture, the Reader recites first 
line of the classic, off stage. At second line kittens come in slowly and 
sadly, giving their first three lines either alternately, or in concert, as de¬ 
sired. Mother Cat’s three lines follow, she, rising from her chair and 
upbraiding kittens with lifted paw. At lines, “Then you shall have no 
pie,” the kittens begin wiping their eyes and weeping, "Mee-ow, mee-ow, 
mee-ow!” but Cat shows no signs of relenting. Curtain. 

SCENE II 

Same scene, with the exception of small table covered with white cloth 
in center of stage with a large pie in middle, already cut in sections. Three 
small chairs in place. Cat moving about laying table with plates, knives, 
forks, etc. 

First line given by the Reader, off stage. At second line kittens hurry 
in, joyfully holding up their mittens and give their first three lines. Cat 
beams with pleasure, pats and caresses them as she gives her lines and invites 
them to table, moving back chairs. They put on their mittens, take seats 
and Cat serves them to pie. They lift their pieces from plates with mit- 
tened hands and begin to eat with every sign of enjoyment, purring to 
the best of their ability as curtain falls. 

SCENE III 

Curtain rises showing same scene, kittens still at table (pie disappeared), 
and mother seated knitting or reading. If reading, it should be a large 
book (paper, folded and sewed by the children) labelled "The Rats’ Prog¬ 
ress.” Kittens are mournfully regarding their mittens and one has already 
begun to sniff. Reader gives first two lines, off stage. At second line 
kittens rise from table and holding up mittens to mother to show their 


THREE LITTLE KITTENS 


i53 


condition, give their lines with sobs and sniffs. Mother rises in wrath, 
gives her two lines and comes toward kittens, as if intending punishment. 
They turn tails and run from stage, weeping sad “ Mee-ows!” (Reader 
has two additional lines, 8th and 10th, in this verse.) Curtain, as Cat 
stands in amazement, paws lifted, eyes raised, at the behavior of her erring 
children. 

SCENE IV 

Same scene, with dining-table removed and three chairs or stools at 
back, on which stand three little tubs or bowls furnished with small wash¬ 
boards. Clothes-line hung in suitable place. Two Kittens washing and 
third hanging mittens on line as curtain rises. Cat asleep in large 1 chair, 
knitting having fallen to floor. All mittens are being hung on line as 
Reader gives first two lines and Kittens turn, facing mother, as they make 
their announcement. She begins to wake at first line and continues drows¬ 
ily waking, rubbing eyes and picking up knitting through next two lines. 
Thoroughly awake, rises and gives her first two lines in joyful voice. At 
close of second line, pauses and starts dramatically. Kittens copy her 
gesture exactly. Cat leans forward and listens, paw behind ear. Kittens 
imitate exactly. One kitten uses wrong paw and another cuffs her lightly 
and shows mistake. 

Cat gives her last line in hushed and impressive voice, “But I smell a 
rat close by!” 

Kittens follow: 


Hush! Hush! Mee-ow! Mee-ow! 

We smell a rat close by! 

Mee-ow! Mee-ow! Mee-ow! 


Cat joins in last three 
Rat is heard without. 


“Mee-ows!” whilei rustling and scratching of 
( Curtain.) 











THE BABES IN THE WOODS 


155 


CHARACTERS 


The Story-teller 
The Two Babes 
Children 

The Two Robins 
Mother 


156 



THE BABES IN THE WOOD 


(Variation on Old Theme) 

A diminutive pantomime in five diminutive scenes, with a 
diminutive recitation as prologue 


PROLOGUE 

“My dears, do you know, 

How a long time ago, 

Two poor little children, 

Whose names I don’t know, 

Were stolen away on a fine summer’s day, 
And left in a wood, as I’ve heard people say. 

157 









58 


THE BABES IN THE WOODS 


“And when it was night, 

So sad was their plight! 

The sun it went dowm, 

And the moon gave no light! 

They sobbed and they sighed, and they bitterly cried, 
And the poor little things, they lay down and died. 

“And when they were dead, 

The robins so red, 

Brought strawberry leaves 
And over them spread; 

And all the day long, 

They sang them this song: 

‘Poor babes in the wood! Poor babes in the wood! 
Oh, don’t you remember the babes in the wood?' ” 

SCENE I 

Well, that is the tale 
You’ll hear without fail 
About those poor children 
Forsaken and frail; 

But different the story my mother told me 
And very much better, as you will agree. 

SCENE II 

They were stolen away 
On that fine summer’s day, 

By some neighbouring children 
Who took them to play 

In the wood where the birds and the squirrels reside, 
And under the toadstools the fairies abide. 


THE BABES IN THE WOODS 


159 


SCENE III 

’Tis true the Babes sighed 
And they bitterly cried, 

But false, I assure you, 

To say that they died; 

When lone and deserted, they gave up their play, 

And under the pine trees they nestled away. 

SCENE IV 

’Tis true robins red 
Spied each little head 
And leaves of the strawberry 
Over them spread, 

And so the lost babies slept cosy and warm 

And robins were watching to keep them from harm. 

SCENE V 

When rose up the sun 
They wakened each one 
And then the kind robins,— 

Their labour was done; 

So homeward they led the small sister and brother 
And brought them all safe to the arms of their mother. 
Glad Babes in the Wood! Glad Babes in the Wood! 

The good Robins saved them! Dear Babes in the Wood! 


CHARACTERS 

The Story-teller The Two Robins (More, if desired) 

The Two Babes (Boy and Girl) Mother 
Children (As many or as few as desired) 



i6o 


THE BABES IN THE WOODS 


COSTUMES 

The Story-teller —Grandmother’s .costume. Black or gray dress, white 
apron and collar or fichu, white cap, white hair and spectacles. 

The Two Babes —Quaint, old-fashioned costumes would be desirable 
and effective. For the girl, a short-waisted dress, white or pale blue, but¬ 
toned behind, with round neck, cut a little low; long, full sleeves, and 
long, full skirt to ankle, white stockings and slippers. For the boy, short 
waist buttoned behind, with tight trousers, figured or plain, buttoned on 
to it and reaching half-way to ankle. Rather low; neck with wide white 
ruffle, white stockings and ankle-ties. If these costumes are too difficult, 
let the girl wear a white dress (Kate Greenaway style) with wide straw 
hat trimmed with flow T ers and floating ribbons, and boy a long Russian 
blouse (crepe paper) of light blue, over white trousers. 

The Two Robins —These birds (who must be very small children) 
wear red, sleeveless waistcoats (strips of Turkey red cotton or crepe paper, 
with holes cut for arms) and dark, hooded capes reaching the floor to 
represent back and wings. They should wear no shoes, keep their arms 
under their capes and practise the robin’s hop and chirp. There may be 
other robins in the flock, if desired, who may bring leaves and help to 
cover the lost children. 

Children —Some of the girls carry straw hats in their hands and some 
carry or wear sunbonnets (crepe paper) ; some carry hoops and skipping- 
ropes and all wear light dresses; the boys wear no hats and carry bows and 
arrows, or bouncing balls. One has a fishing rod and two are harnessed 
and driven bv a third. Costumes must follow those selected for Babes. 

Mother —This character appears but once, when she welcomes children 
at end of pantomime. Costume must follow style selected for Babes and 
harmonize in color with their dresses. It will be effective if she arranges 
her hair in “Evangeline” style and wears a hooded cape dropping from 
shoulders. (Crepe paper.) 


PROLOGUE 

Stage set as ordinary room with but few articles of furniture, as all 
must be removed for forest scenes. 

Grandmother seated in large, high-backed chair in center of stage with 
child leaning against her, face upturned, listening to the story of the Babes 
in the Wood. Any one of the children who entice the Babes to the forest 
may take this part, selecting, if possible, one of expressive face, who can 
listen picturesquelv. Grandmother recites the old verses, with the modern 
additions, and child at end, hearing that Babes reach home safely, claps 
hands and laughs and grandmother bends over to kiss her. 

( Curtain.) 


THE BABES IN THE WOODS 


161 


SCENE I 

Same room with two small chairs on which Babes sit. The girl is either 
knitting, making patchwork, or sewing a long white seam, and boy reading 
large picture book. Enter, after a few minutes of silence, the flock of 
children and coax the Babes to go with them, pointing out of doors and 
showing playthings. Babes finally agree, throw down w T ork and book and 
skip off stage. If stage is large enough all join hands, and dance once 
around, leaving in line, hands joined. 

(Suitable music here.) 

( Curtain.) 

SCENE II 

Stage set with small trees (in stands) here and there to represent forest. 
Stands covered with boughs. Artificial birds in branches and warbling 
heard behind scenes as curtain rises. Enter Babes slowly, hands joined, 
heads down, weary and depressed. Girl is wiping eyes with handkerchief. 
She turns to boy, indicates fatigue and aching head and points to ground 
as if wishing to lie down. Boy assents, smooths place and helps her down, 
arranging her dress and patting her. She half rises to put arms around 
his neck and kiss him. He sits by her side to watch, looking anxiously in 
every direction. Begins to nod, and finally falls to side of girl, asleep, 
and leaning against her. Tableau, while birds off stage continue to warble. 

SCENE III 

Curtain rises to show sleeping Babes. Soon a robin enters, right, spies 
Babes, hops around them to inspect and hurries off, chirping, to call mate, 
who enters and goes through same pantomime. Other robins then enter, 
if desired. Soon all hop off and return, each bearing strawberry leaf in 
his mouth. (Large green paper leaves, which children can easily make, 
shape of strawberry leaf, but large as the hand.) They go and come till 
children are covered and then, flapping wings and chirping with joy, leave 
stage. 

(Reinecke’s “When the Little Children Sleep,” or other suitable lullaby, 
is sung as curtain falls.) 

SCENE IV 

Curtain rises to show Babes still asleep, but slowly waking. Rub eyes, 
sit up, show surprise at leaves, and still half covered, lean over and kiss 
each other good-morning. Robins enter while Babes are still seated and 


162 


THE BABES IN THE WOODS 


cluster about them, chirping. Babes rise and follow robins who hop from 
stage, left, plainly inviting children to come with them. 

( Curtain .) 

SCENE V 

Same wood with mother standing left, shading eyes with hand and 
anxiously looking for children. Babes enter right, running, and hurry to 
mother’s arms. She kneels to embrace them. Robins follow, and stand 
in little group, right, nodding heads and flapping wings as if with joy. 

(Curtain.) 



f 


. THE MUFFETS AND THE SPIDER 


163 



CHARACTERS 

Miss Muffet 
Master Muffet 
Spider 
Reader 

Sisters, Brothers 


164 



THE MUFFETS AND THE SPIDER 

How it all ended 

A Drama in Six Verses and Four Tableaux 

“Little Miss Muffet 
She sat on a tuffet 
Eating of curds and whey; 

There came a great spider 

And sat down beside her 

And frightened Miss Muffet away.” 

TABLEAU I 

Miss Muffet and the Spider 
165 




166 


THE MUFFETS AND THE SPIDER 


She waited a certain 
Time back of the curtain, 

Then came out in battle array; 

For she brought Master Muffet 
To give “Spide” a buffet, 

His slyness and greed to repay. 

Then came all the others, 

Their Sisters and Brothers, 

Delighted to witness the fray; 

They saw Spider battered, 

The bowl of curds shattered, 

’Twas “donder und blitzen” that day! 

TABLEAU II 

The Combat 


All laughter and prattle, 

They witnessed the battle, 

Till Spider a-perishing lay; 

Then set Master Muffet 
Aloft on that tuffet 

And crowned him with laurel and bay. 

And where was the Sister? 

Fm glad you have missed her, 

Miss Muffet, so sweet and so gay! 
Her pride in her brother 
She scarcely could smother, 

Her gratitude words couldn’t say. 

TABLEAU III 

Death of the Spider 



THE MUFFETS AND THE SPIDER 


167 


So singing and dancing, 

Away they went prancing, 

A march was commanded to play; 

And knowing the Spider 
No longer beside her, 

Miss Muffet tripped gaily as they. 

TABLEAU V 
March of Victory 

CHARACTERS 

Miss Muffet Spider 

Master Muffet Reader 

Sisters, Brothers (As many as desired) 

COSTUMES 

Th is little drama is so brief a one and so without reference to time or 
place that costuming need not be mentioned, save that “dressing-up” always 
constitutes a large part of the fun and excitement for the children. 
Whether it is played in school or nursery they can fashion their own 
costumes from paper, or from borrowed finery, if a few suggestions are 
given them. The traditional dress of Miss Muffet in the “Mother Goose” 
books is a long skirt to the ankles, of some bright color, a low-necked, 
short-sleeved white chemisette and a black velvet bodice. A fancy apron 
is also sometimes seen in the illustrations. 

Master Muffet may be made grand by a crepe paper mantle hanging 
from the shoulders, a jaunty paper cap with a long feather and a wooden 
sword, or long spear covered with gilt paper. He may enter on foot, 
brandishing this weapon, or upon a gallant hobby-horse. 

Sisters and Brothers —Long skirts give so much joy to little girls and 
cocked hats or feathered caps to boys that they may be allowed these 
adornments. 

Spider —The body of this ferocious animal may be made of dark gray 
cambric and well stuffed with bits of torn newspaper. An old umbrella 
frame will provide him with legs, the wires properly bent with tweezers 
and wound with yarn to give a hairy effect. His eyes are large button- 
moulds covered and stuffed, and to give a proper effect his body should 
be made the size of an ordinary wash-bowl. 



168 


THE MUFFETS AND THE SPIDER 


A bit of wood drilled with a hole through which a cord is passed is 
fastened to the ceiling and attached to the Spider, whose movements are 
directed off stage. A ceiling light over which the cord is thrown will do 
as well, of course. 

Reader —As advised in the other action-poems in this volume, the Reader 
may be dressed as Mother Goose, or one of the actors in the drama may 
give the lines before the curtain rises. 

Properties —A large bowl and spoon for the curds and whey, a sword 
or spear for Master Muffet, a wreath for his head, a banner stretched 
between two poles, and the “tuffet,” which is a low stool, cushion, cricket, 
hassock or anything of that kind. 

TABLEAU I 

MISS MUFFET AND THE SPIDER 

Curtain rises, discovering Miss Muffet seated on tuffet, center stage, 
bowl in lap, eating her curds and whey. Spider is held close to ceiling 
by cord and gradually lowered until Miss Muffet sees him, when she 
starts in horror, jumps up, drops bowl, and runs off stage, covering eyes 
from the dreadful sight. A lump of soft dough in bowl will serve for 
curds, over which Spider is gloating as curtain falls. 

TABLEAU II 

THE COMBAT 

M iss Muffet enters, shows Brother the Spider and steps aside to watch 
the fight, clasping her hands in horror and now and then wiping her eyes. 
If Master Muffet enters on foot he should be accompanied by two Squires, 
also with weapons; if on horseback his entry will be sufficiently impressive 
if he comes alone. Spider sees Master M. and attempts to draw himself 
up to ceiling. Deadly combat follows, which must be well rehearsed to 
be effective. Curtain falls while it is still in progress. 

TABLEAU III 

DEATH OF THE SPIDER 

Curtain rises while combat is still going on and Sisters and Brothers 
rush in, the former grouping themselves about Miss M., fanning her, etc., 
while she weeps upon their shoulders. Spider finally falls and Brothers 
dash forward, place Master M. on tuffet—(if not high enough, set tuffet 
on chair,) place wreath on head and with military salutes leave him 
enthroned and group about him. Sisters follow and kneel before him in 
admiration. 


THE MUFFETS AND THE SPIDER 169 

TABLEAU IV 

MARCH OF VICTORY 

Music of a triumphal march begins,— (“See, the Conquering Hero 
Comes!” is appropriate) and procession enters. It is headed by two boys 
carrying a banner which is a wide strip of cloth or paper, stretched between 
two poles and lettered “Death to Spiders!“ 

Next comes a stalwart boy bearing the body of the Spider, dangling 
from the end of a long pole. 

Master M. follows, carried by two boys on their crossed hands and 
M iss M. comes next, waving a flag. After her all the Sisters enter march¬ 
ing in pairs and then the Brothers, single file, keeping time to the music 
with as many drums, triangles, tambourines, castanets, combs, concertinas 
and horns, as can be collected in the neighborhood. 

After a march around the stage a grand tableau is posed, Master M. in 
the center, the banner held above his head by its bearers, Miss M. at his 
side, his arm protectingly around her, and the other actors grouped effec¬ 
tively about the hero and heroine of the drama. 






































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